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Tinajero, Roberto Jose. "Hip hop rhetoric relandscaping the rhetorical tradition /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Paradiso, Laurin Anna. "Classical rhetoric in baroque music." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1208.
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Repertoar: J.S.Bach: f-moll konsert för cembalo och orkester; Scarlatti: Sonata K 141; Froberger: Toccata VI i a-moll; Paradies: Sonata VII i B-dur; Frescobaldi: Toccata Ottava ur Primo Libro; d'Anglebert: Prelude, Allemande, Courante ur Suite i d-moll; Scarlatti: Follia; Fontana: Sonata Seconda för blockflöjt och basso continuo. Medverkande: Dan Laurin - blockflöjt, Jonas Lindgård - violin, Josef Cabrales - violin, Toni Bauer - viola, Mats Olofsson - cello, Danijel Petrovic - kontrabas
Bilaga: 1 CD
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Rusak, Helen Kathryn. "Rhetoric and the motet passion." Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.
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Toumpoulidis, Themistoklis D. "Aspects of musical rhetoric in Baroque organ music." Thesis, University of Sheffield, 2005. http://etheses.whiterose.ac.uk/3032/.
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The association between linguistic and musical principles was acknowledged by Baroque musicians throughout the seventeenth and eighteenth centuries, a facet that attracted the attention of many musicologists - mostly German (A. Schering, H. Brandes, and H. H. Unger) - from the beginning of the twentieth century. This study presents an historical background to the whole concept of musical rhetoric, beginning with Luther's theology of music, and focuses on the most significant theoretical compilations of the Baroque era that led to the crystallization and final decline of musica poetica. Aspects of classical rhetoric are dealt with extensively, commencing with the rhetorical dispositio, as described by Greek and Roman authorities, followed by Mattheson's first musical illustration of the (six-part) rhetorical structure in vocal composition. The work focuses on the musical adaptation of two important elements of Baroque musica poetica. Musical-rhetorical figures are presented in chorale compositions by D. Buxtehude and J. S. Bach, conforming to the Baroque notion according to which composers were inclined to depict the allegory and symbolism of the theological text. The study proceeds to the demonstration of the rhetorical dispositio in free organ music, adopting a theory that explains the seemingly disjointed parts of the Klangrede ('sound-speech') notsimply as whimsical elements of the stylus phantasticus, but rather as a scenario modelled on rhetorical thought. The alternation of passion and reason between the affective (exordium and peroratio) and objective (narratio and confirmatio) sections of the classical dispositio is demonstrated in specific pedaliter praeludia by D. Buxtehude, whose free organ works point to an advanced rhetorical plan hidden behind each composition.Buxtehude's musical-rhetorical dispositio is further applied to organ toccatas by N. Bruhns (E minor) and J. S. Bach (BWV 551 and 566), whose rhetorical style, although different from that of Buxtehude, displays a sequence of contrasting sections also motivated by the functions identified in classical rhetoric.
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Stedman, Kyle D. "Musical Rhetoric and Sonic Composing Processes." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4229.
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This project is a study of musical rhetoric and music composition processes. It asks the questions, "How does the nature of music as sound-in-time affect its rhetorical functions, production, and delivery?" and "How do composers approach the task of communicating with audiences through instrumental music?" I answer these questions by turning to the history of musical rhetoric as practiced in the field of musicology and by interviewing composers themselves about their composition practices--approaches that are both underused in the rhetoric and composition community.
I frame my research participants' responses with a discussion of the different degrees to which composers try to control the eventual meaning made from their compositions and the different ways that they try to identify with their audiences. While some composers express a desire to control audiences' emotions and experiences through the use of forms and careful predictions about an audience's reactions to certain genres and influences, other composers express a comfort with audiences composing their own meanings from musical sounds, perhaps eschewing or transforming traditional forms and traditional performance practices. Throughout, I argue for the importance of considering all of these perspectives in the context of actually hearing music, as opposed to taming and solidifying it into a score on a page.
These composers' insights suggest the importance of understanding musical rhetoric as an act based in sound and time that guides meaning but can never control it. They also suggest new ways of teaching English composition courses that are inspired by the experiences and practices of music composition students. Specifically, I argue that English composition courses should better rely on the self-sponsored literacies that students bring to classrooms, stretch the ways these courses approach traditional rules of composing, and approach digital tools, collaboration, and delivery in ways that mirror the experiences of music students.
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Emke, Andréas. "Musiklärares användning av talekonsten : Retoriska förmågor." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4177.
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Äldre litteratur har visat att talkonsten kan användas för att övertyga sina åhörare. En väsentlig del i läraryrket är att göra sig förstådd hos elever och studenter. I denna studie undersöktes det hur musiklärare använde sig av retoriska grepp i sin undervisning samt hur deras elever uppfattade musiklärarnas retorik. Studien genomfördes genom observering av musiklärarnas lektioner, därefter intervjuades deras elever. Resultatet visade att musiklärarna använde rösten på olika sätt, via övertygelse, tempo, betoningar och pauser, för att framföra sitt budskap. Studien visade att elevernas förståelse för ämnet kan påverkas genom att läraren anpassar sitt sätt att tala.In the olden literature it has been shown that the art of speech can be used to convince its listeners. An essential part of the teaching profession is to make oneself understood by pupils and students. This study examines how music teachers use rhetorical devices in their teaching and how their students perceive the music teachers' rhetoric. The study was conducted by observing the music teachers' lessons, afterwards their students were interviewed. The results show that music teachers use their voice in different ways, through conviction, tempo, strategic emphases and pauses for effect, to convey their message. The study shows that students' understanding of the subject can be influenced by the teacher adapting his or her way of speaking.
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Desler, Anne. "'Il novello Orfeo' Farinelli : vocal profile, aesthetics, rhetoric." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5743/.
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Although Farinelli has received a great deal of attention in scholarship, the early music performance scene and in popular culture, little has been written about his singing. The current perception of Farinelli’s musical profile is based almost entirely on the research of Franz Haböck from the beginning of the 20th century and the writings of Charles Burney. As a result of the emphasis of both writers on Farinelli’s bravura singing, the singer’s name has become synonymous with castrato virtuosity. This study takes a more diffentiated approach. It reconstructs the artistic persona of Farinelli from libretti, scores and documentary evidence, evaluates the veracity of anecdotal information pertaining to his singing that has so far been accepted largely at face value and considers the aesthetic implications of Farinelli’s singing. Part I of this study seeks to reconstruct Farinelli’s vocal profile. In chapter 1, contemporary descriptions by earwitnesses are examined and evaluated with regard to important aspects of his singing, i.e., the sound quality, volume and range of his voice, technical elements such as his trill, agility and breath control, ornamentation and improvisation and, finally, his acting. Chapter 2 summarises the main stages of the singer’s operatic career. The purpose of this chapter is not to reiterate biographical information, but to provide an outline that can serve as a framework for the discussion of the development of Farinelli’s vocal technique, personal style and reception. The chapter also identifies important points of professional interaction between Farinelli and other famous singers. Chapter 3 falls into two parts. Firstly, the main elements of vocal technique, as described in the vastly influential vocal treatises of Tosi and Mancini, are outlined in relation to notational practice of 18th-century manuscript scores and their relevance to the music sung by Farinelli. Secondly, the development of Farinelli’s voice in terms of the singer’s vocal technique, range, volume and details of style is discussed on the basis of the analysis of Farinelli’s operatic roles. Chapter 4 focuses on the analysis and contextualisation of important stylistic changes that occured during Farinelli’s career. Throughout, Farinelli’s stylistic choices are discussed in relation to the aesthetic preferences of the different audiences he encountered. Part 2 explores aspects of Farinelli’s artistic profile from the vantage points of aesthetics and rhetoric. Based on analyses of Farinelli’s arias on nightingale metaphors, chapter 5 discusses the conceptual frameworks and aesthetic issues that have often resulted in a critical reception of his virtuosity, both during his lifetime and in the 20th century. Chapter 6 examines the manner in which the principles of rhetoric have been applied to 18th-century music in recent scholarship. It argues for a different, more integrated approach that reflects the performance-centred period understanding of rhetoric, which, unlike the modern understanding, was not yet inflected by the author and work concepts. Chapter 7 analyses rhetorical strategies in Farinelli’s Venetian bravura arias and their implications with regard to the issues of authorship and the relationship between performer and audience. In chapter 8, the text-music relationship and communicative strategies in Farinelli’s slow expressive arias are scrutinised. The conclusion briefly assesses the impact of Farinelli on Italian opera, theatrical performance practice and musical aesthetics.
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Johnston, Gregory Scott. "Protestant funeral music and rhetoric in seventeenth-century Germany : a musical-rhetorical examination of the printed sources." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27359.
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The present thesis is an investigation into the musical rhetoric of Protestant funeral music in seventeenth-century Germany. The study begins with an exposition on the present state of musicological inquiry into occasional music in the Baroque, focusing primarily on ad hoc funeral music. Because funeral music is not discussed in any of the basic music reference works, a cursory overview of existing critical studies is included. The survey of this literature is followed by a brief discussion of methodological obstacles and procedure with regard to the present study.
Chapter Two comprises a general discussion of Protestant funeral liturgy in Baroque Germany. Although numerous examples of the Divine Service in the Lutheran Church have survived the seventeenth century, not a single order of service for the funeral liturgy from the period seems to exist. This chapter provides both the social and extra-liturgical background for the music as well as a plausible Lutheran funerary liturgy based on documents from the period and modern studies.
Prosopopoeia, the rhetorical personification of the dead, is the subject of Chapter Three. After examining the theoretical background of this rhetorical device, from Roman Antiquity to the German Baroque, the trope is examined in the context of funerary sermonic oratory. The discussion of oratorical rhetoric is followed by an investigation into the musical application of the concept of prosopopoeia in various styles of funerary composition, from simple cantional-style works to compositions in which the personified deceased assumes certain physical dimensions.
Chapter Four includes an examination of various other musical-rhetorical figures effectively employed in funeral music. Also treated in this chapter are musica1-rhetorical aspects of duple and triple metre, where triple metre in particular, depending on the text, can be understood figuratively, metaphorically or as a combination of both. As this chapter makes clear, owing to the perceived antithetical properties of metre and certain figures, musical rhetoric was often used to illustrate the distinction between this world and the next.Arts, Faculty of
Music, School of
Graduate
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Westacott, Graeme John. "The rhetoric of the north German organ school /." The rhetoric of the north German organ schoolRead the abstract of the thesis, 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19396.pdf.
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Lawrence, Daniel William. "On the digital-political topography of music." Thesis, Michigan Technological University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643826.
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The persuasive power of music is often relegated to the dimension of pathos: that which moves us emotionally. Yet, the music commodity is now situated in and around the liminal spaces of digitality. To think about how music functions, how it argues across media, and how it moves us, we must examine its material and immaterial realities as they present themselves to us and as we so create them. This dissertation rethinks the relationship between rhetoric and music by examining the creation, performance, and distribution of music in its material and immaterial forms to demonstrate its persuasive power. While both Plato and Aristotle understood music as a means to move men toward virtue, Aristotle tells us in his Laws, through the Athenian Stranger, that the very best kinds of music can help guide us to truth. From this starting point, I assess the historical problem of understanding the rhetorical potential of music as merely that which directs or imitates the emotions: that which "Soothes the savage breast," as William Congreve writes. By furthering work by Vickers and Farnsworth, who suggest that the Baroque fascination with applying rhetorical figures to musical figures is an insufficient framework for assessing the rhetorical potential of music, I demonstrate the gravity of musical persuasion in its political weight, in its violence--the subjective violence of musical torture at Guantanamo and the objective, ideological violence of music--and in what Jacques Attali calls the prophetic nature of music. I argue that music has a significant function, and as a non-discursive form of argumentation, works on us beyond affect. Moreover, with the emergence of digital music distribution and domestic digital recording technologies, the digital music commodity in its material and immaterial forms allows for ruptures in the former methods of musical composition, production, and distribution and in the political potential of music which Jacques Attali describes as being able to foresee new political realities. I thus suggest a new theoretical framework for thinking about rhetoric and music by expanding on Lloyd Bitzer's rhetorical situation, by offering the idea of "openings" to the existing exigence, audience, and constraints. The prophetic and rhetorical power of music in the aleatoric moment can help provide openings from which new exigencies can be conceived. We must, therefore, reconsider the role of rhetorical-musical composition for the citizen, not merely as a tool for entertainment or emotional persuasion, but as an arena for engaging with the political.
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Winebrenner, Terrence Calvin. "My heroes have always been cowboys : the rhetorical vision of country-western popular songs, 1970-1979 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487264603218088.
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O'Byrne, Megan Sue. "When the President Talks to God: A Rhetorical Criticism of Anti-Bush Protest Music." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1225216520.
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RODGERS, STEVEN DEAN. "NO NUKES: A RHETORICAL ANALYSIS OF MUSIC MESSAGES." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188038.
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This study investigated the antinuclear musical compositions that occurred between the dropping of the first nuclear detonation device in 1945 and the accident at the Three Mile Island nuclear energy facility near Harrisburg, Pennsylvania. This study utilized a framework provided by Kenneth Burke in that the five areas of the pentad--scene, agents, acts, agencies and purposes--were investigated in relation to one another. Each of these areas was investigated with regard to the unique nature of the medium of popular song operating as a cultural key. The scenic analysis centered upon the cause of the exigency that brought about the antinuclear music. As the uses of nuclear energy changed from military uses to energy generation, the musical and lyrical content also changed. Special consideration of the Musicians United for Safe Energy movement was presented in an historical context, noting antecedent movement activity. Other positive, negative and neutral agents were also considered. The specific acts of the nuclear age are divided into actual physical, historically verifiable actions with regard to nuclear activity and in incipient action as presented through the lyrics of the musical compositions. Consideration of the agencies used by the positive agents centered around the concept of identification as essential to the movement against nuclear energy. This identification was considered as "Identification Of," "Identification With," and a third type of "Corporate Identification," in that conflicting identifications may occur. The purposes of the antinuclear movement were to fight the proliferation of nuclear arms and energy generation facilities through the cohesive force of music to mobilize the youth on behalf of the antinuclear movement, to provide a sense of belonging and participation in peer group activity, and to provide a release for the youth of this era of history. The conclusions of this research indicate that the antinuclear musical activity has provided the vocabulary, the imagery and the syntax with which the public addressed nuclear energy when the Three Mile Island episode solidified public opinion on the issue.
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Board, Ryan Everett William A. "Dietrich Buxtehude's Membra Jesu nostri a study in baroque affections and rhetoric /." Diss., UMK access, 2006.
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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006."A dissertation in conducting." Advisor: William Everett. Typescript. Vita. Description based on contents viewed Oct. 30, 2007; title from "catalog record" of the print edition. Includes bibliographical references (leaves 100-102). Online version of the print edition.
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COUCH, III LEON WHELAND. "THE ORGAN WORKS OF DIETRICH BUXTEHUDE (1637-1707) AND MUSICAL-RHETORICAL ANALYSIS AND THEORY." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1028220263.
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Conkle, Christian Fauser Annegret. "Building our cultural defenses the noninterventionist rhetoric of the National Federation of Music Clubs /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2544.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.Title from electronic title page (viewed Oct. 5, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music." Discipline: Music; Department/School: Music.
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Gibson, Jonathan B. "Le naturel and L'eloquence : the aesthetics of music and rhetoric in France, 1650-1715 /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40050039j.
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Anderson, Ron James. "The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242454.
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Dietrich Buxtehude (ca. 1637-1707) was a North German composer of the mid-Baroque period. He lived in a time and place in which classical rhetoric, the study of oratory, influenced education, religion, and music. Applying the definition of rhetoric as the art of persuasion, this study surveys the different persuasive strategies employed by Buxtehude in his various keyboard genres. The elements considered in this inquiry include the affects of keys and modes, rhetorical figures, and structures of speeches as applied to music. The style and setting (ethos), intellectual content (logos), and emotional effect (pathos) are explored in each genre as elements of rhetorical persuasion. This study reveals that different genres of Buxtehude's keyboard music utilize different rhetorical strategies and techniques. These strategies vary according to the purpose of the music (i.e., secular or sacred), the presence or absence of an associated text, and the form of the composition. The chorale preludes, since they are driven by texts, use figures such as hypotyposis, assimilatio, anabasis and catabasis, to musically highlight important words in the text, or to amplify the text's underlying meaning. The suites, and parts of the variations, reflect the affects of the various dance movements as described by Johann Mattheson, Gregory Butler, and Patricia Ranum. The rhetorical nature of contrapuntal works is considered in terms of solving a musical issue through musical proofs, as described by Daniel Harrison. Finally, the praeludia embody the rhetorical form of the classical dispositio, or form of a forensic speech. These sectional works are arranged in such a way as to advantageously present both emotional and intellectual facets of a musical oration.The study also asserts that it is stylistically appropriate, given the audience-centered values of rhetorical persuasion, to perform Buxtehude's manualiter works at the piano, providing that they are played in a manner consistent with the style and structure of the music. This view is fortified by evidence that Baroque musicians, compared to modern musicians, were far less specific about instrumentation and musical details. An appendix offers specific performance suggestions for pianists in each of the works discussed in the study.
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Liao, Wei-Chun. "A Study of Musical Rhetoric in J. S. Bach's Organ Fugues BWV 546, 552.2, 577, and 582." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427983542.
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Koonce, Richard Sheldon. "The symbolic rape of representation : a rhetorical analysis of Black musical expression on Billboard's Hot 100 charts /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162098669.
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May, Christopher Jonathan. "System, gesture, rhetoric : contexts for rethinking tintinnabuli in the music of Arvo Pärt, 1960-1990." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:b54c2749-f35b-4fdc-91d7-8fd1d28e91b3.
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This thesis addresses critical strategies that have been used, or might be used, to approach Pärt's tintinnabuli music. It has three main objectives: to question prevalent narratives drawn around the tintinnabuli concept, to suggest interpretative frameworks that could yield fresh insights into that concept's 'meaning', and to introduce new and neglected materials to anglophone Pärt discourse. In studying the mediating role of the tintinnabuli scholar, I also confront some of the ethical challenges associated with research on living composers. This project places special emphasis on localised narratives of production and influence in Pärt's music, and draws extensively on Estonian primary source material. A major hermeneutic guide has been the composer's 1994 description of seeking 'the appropriate system for the gesture', and this idea figures in each of the four main chapters. Chapter 1 describes and questions existing knowledge around tintinnabuli, approaching this task through a study of "Wenn Bach Bienen Gezüchtet Hätte ...", a work chosen for its critically fertile 'cusp' status. Chapter 2 concentrates on Pärt's explorations of 'Soviet serialism' from 1960-3, engaging with withdrawn and film scores in addition to the well-known "Nekrolog". I discuss this music in terms of a complex freedom-constraint interplay, and suggest links to the tintinnabuli style. Taking "Sarah Was Ninety Years Old" as a case study, Chapter 3 turns to listener-oriented frameworks of musical meaning. I offer an experiential reading of the piece that places tintinnabuli in dialogue with body-based theories of cognition. Lastly, Chapter 4 addresses texted tintinnabuli. I build up a reading of "Miserere" in terms of 'musical rhetoric', comparing Pärt's compositional strategies to those used by Josquin des Prez in the 1503 motet "Miserere Mei, Deus". I also consider the implications of music-rhetorical analogy for wider understandings of the 'tintinnabuli' concept.
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Robinson, Gregory Wright Hoerl Kristen E. "Burke's rhetoric of reorientation in Hank Williams' honky-tonk performance." Auburn, Ala., 2009. http://hdl.handle.net/10415/1808.
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Dew, Cathryn. "'Passion and persuasion' : the art of rhetoric and the performance of early seventeenth-century solo sonatas." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2475/.
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O'Byrne, Megan. "When the President talks to God a rhetorical criticism of anti-Bush protest music /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1225216520.
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Williams, Jeremy Huw. "Serialism, modality and poetic rhetoric in Alun Hoddinott's Five Poems of Gustavo Adolfo Bécquer, Op. 152 no. 2 (1994)." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/49267/.
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The last fifteen years of Alun Hoddinott’s life witnessed an unprecedented outpouring of works for solo voice, which seemed to coincide with a notable change of style – towards simpler textures, melodic lyricism and a greater concision of musical thought. This thesis examines the context and nature of this apparent change of style, focusing on text setting, poetic rhetoric, and harmonic and rhythmic vocabulary, with particular reference to the song cycle Five Poems of Gustavo Adolfo Bécquer, Op. 152 no. 2 (1994). Chapter 1 contextualizes the vocal music since 1994 within Hoddinott’s oeuvre, considering whether the later songs mark a genuine ‘late style’ or merely a shift of emphasis within an already established compositional approach. Chapter 2 examines in detail the rhetoric and structure of the poetry chosen by Hoddinott and the reflection of these poetic devices in the musical settings. Chapter 3 investigates the combination of modality and serialism in Hoddinott’s harmonic language, concluding with an analysis of the opening Andante of the Trio for violin, cello and piano, Op. 77 (1970). This chapter assesses his acknowledged debt to the modal writing of Bartók and the serial practices of Berg, manifested in Hoddinott’s use of whole-tone and octatonic scales as a basis for hexachordal structure. All these elements are then brought together in Chapter 4, an analysis of the Bécquer settings, which assesses the interaction of text and music. While the underlying structure of Hoddinott’s later music remains serial, its reduced rate of chromatic circulation means that the modal elements long present in his note rows now come clearly to the fore, contributing to the songs’ often striking changes of colour and texture. The appendices contain translations of the texts for the late solo baritone works (with original punctuation restored), along with a full works list, bibliography and discography.
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Stewart, Neal Edward. "Non-lyrical democracy : a rhetorical analysis of Miles Davis' Kind of Blue." Thesis, Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/902.
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Bergin, Patrick Michael Jr. "M.-A. Charpentier’s In honorem Sancti Ludovici Regis Galliae Canticum (H. 365): A Case Study in Chronology and Rhetoric." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339872776.
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Gries, Margret, and Margret Gries. "Expressive Intonation as Rhetoric in the Performance Practice of Instrumental Ensemble Music in London (1650-1720)." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12344.
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Descartes’ Compendium musicae and Lamy’s La Rhétorique ou l’art de parler,
both published in English translation in London in the late seventeenth century, suggest
approaches to period performance practice that support expressive intonation as a rhetorical
device. Descartes’ unique perspective on musical pitch and intervals provides a
methodology for understanding inflected intonation in performance. Closely aligned with
Descartes’ epistemological perspective, Lamy’s treatise provides an understanding of
expressive intention as essential to effective rhetorical delivery. These approaches are
applied to musical examples from trio sonatas of Arcangelo Corelli, John Ravenscroft and
Henry Purcell, demonstrating that expressive intonation using subtle pitch inflection can be
explained as a rhetorical practice. These subtle pitch inflections, related as they are to both
rhetorical delivery and intonation systems, are not reflected in notation but realized only as
music is heard in time. It is in performance contexts that pitch inflection can be realized as
an expressive device. A supplemental audio file contains five short examples
demonstrating pitch deviation applied to selected intervals.
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Son, SE. "Figures of Musica Poetica in the Passacaglias of Dieterich Buxtehude and J.S Bach." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1353089121.
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Marney, Dylan. "The Application of Musico-Rhetorical Theory to Stretto, Double, and Triple Fugue: Analyses of Contrapuncti V-XI from J.S. Bach's The Art of the Fugue, BWV 1080." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301477.
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Analysis of Johann Sebastian Bach's (1685-1750) keyboard works and the study of fugue are often complemented by an understanding of Baroque rhetorical theory. In the Baroque Era, the principles of oration and argument established by Greek rhetoricians were thought of as analogous to musical ideas and forms. Notable Baroque theorists Joachim Burmeister (c. 1566-1629) and Johann Mattheson (1681-1764) related the fugal process to an active and elaborate discourse. They connected the basic parts of rhetorical disposition to fugue in an attempt to define and clarify its skeletal framework. While the concept of musico-rhetorical disposition schemes seems to be an attractive design for many Baroque theorists, it is difficult to apply such an analysis to stretto and double/triple fugues. This type of analysis sectionalizes the fugue in restrictive ways, linking particular musical techniques to different areas as would divide an oration. This document suggests that specific rhetorical figures do not need to be seen as fitting pre-set standard areas (e.g., propositio, confutatio, conclusio), but can derive from the context of each particular fugue, since they serve a prevailing musical function. Bach's stretto and double/triple fugues from The Art of the Fugue, BWV 1080 are particularly difficult masterpieces to comprehend, and there is little precedence for the application of rhetorical figures to fugues of these types. This document examines Contrapuncti V-XI from The Art of the Fugue, and can serve as a model for rhetorical analyses of complex fugal processes.
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Dickerson, Arin Rose. "Patriotism, Courtesy of Toby Keith: The Voice of Country Music After September 11." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/42376.
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In releasing the songs "Courtesy of the Red, White and Blue (The Angry American)" and "American Soldier" in the aftermath of September 11, country artist Toby Keith enacts a tradition that has been established in the world of country music since the Civil War, that of producing wartime songs of patriotism. I conducted an organic analysis of both songs as rhetorical acts produced and consumed within a particular rhetorical context. Because country music is fundamentally a discourse that celebrates the attitudes, values and experiences of its audience, I first analyzed these two songs as instances of epideictic rhetoric. As an epideictic rhetor, Keith reinforces the traditional values of the country music audience, uniting them in celebration of the communal identity that renders them a rhetorical community. That shared identity enables Keith to advance a rhetorical vision of a post-September 11 reality, attributing meaning to the events of September 11 and the ensuing conflicts in Afghanistan and Iraq. I use pentadic analysis to illuminate the vision presented in each song, and I utilize both media coverage and the Billboard charts to determine how well this vision â chained outâ amongst the country music audience. Lastly, I utilize media coverage to explore the rhetorical context in which these songs were written and consumed.Master of Arts
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Koutsobina, Vassiliki. "Musical Rhetoric in the Multi-Voice Chansons of Josquin des Prez and His Contemporaries (c. 1500-c. 1520)." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211819570.
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Antinora, Sarah Hill. "Frank Zappa and Mikhail Bakhtin: Rabelais's carnival made contemporary." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/141.
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For this project, the author uses Bakhtin's theory of carnival to illuminate Zappa's sound and rhetoric. The author hopes that by using this theoretical lens allows audiences to understand Zappa's choices in subject matter. Those who can see his work as satire and understand the use of carnivalesque techniques in challenging authority see the genius in his work.
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Carey, Triauna Rachelle. "The Revolution Will Be Spotified: A Rhetorical Analysis of Music as a Mode of Resistance in the 21st Century." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1582906372437888.
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Thompson, Douglas Earl. "Evolution Meets Revolution: The Contributions of Computers to Word- and Tone-Painting in Choral-Electroacoustic Works." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194956.
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The purpose of this study is to reveal the evolutionary and revolutionary aspects of using computers to word- and tone-paint in choral-electroacoustic (CEA) works. An extended account is made of word- and tone-painting's history in selected works from the Renaissance through the Twentieth Century to establish their use as a choral music tradition, followed by an examination of three recent CEA works: Scott Wyatt's A Time of Being, Scott Miller's Dies Sanctificatus, and Reginald Bain's When I Consider the Heavens. In all instances, word- and tone-painting are identified and assigned meaning utilizing Irving Godt's "Systematic Classification of Semantic Text Influences." A chapter outlining the challenges of programming CEA works is included, along with suggestions for how conductors can meet those challenges. In addition to Godt's "Classification," a brief history of the development of computers as a musical resource and information regarding Reginald Bain's work appear in the appendices.Among the results of this study are: a confirmation of word- and tone-painting as a vital, continuing tradition in choral music; a clarification of the distinctions and overlap between word-painting, tone-painting, and rhetoric; an affirmation of Irving Godt's classification system's usefulness; and an identification of the computer's capabilities that make the machine's use evolutionary and revolutionary. The computer's most revolutionary capability is its virtually limitless ability to create, shape, and manipulate sound. As the examination of the three CEA works in this study illustrates, the computer's revolutionary potential has only begun to be utilized, and the possibilities of creating compositionally mature CEA works only begun to be realized.
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Compton, Callie Elise. "What Do You Mean, "Practice"? Theorizing the Writing-Music Connection." TopSCHOLAR®, 2016. http://digitalcommons.wku.edu/theses/1608.
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Researchers in the field of composition studies have frequently made allusions to musicians when they’ve discussed the role of practice in gaining skill. In doing so, however, they’ve risked making speculative rather than testable claims and separating composition studies from recent insights on practice from other disciplines such as education and music psychology. These fields, I argue, offer testable frameworks with which composition instructors and scholars can teach and study writing practice. Such frameworks are necessary because composition researchers need to supplement qualitative studies of writers and writing with quantitative data to generate replicable tests of teaching methods that may benefit practicing writers.
This thesis draws on prior research in composition studies to illustrate the context of its central argument. It then breaks down some of the key assertions about practice that support this context before introducing frameworks from other disciplines that will allow composition researchers to replicate studies of effective writing practice instruction in the first-year college writing classroom. These frameworks or models of practice instruction include self-regulated strategy development and practice sessions conceived as stages of error and mistake management. Supplementing these models are descriptions of a few key activities built on these frameworks for students to practice writing in and outside the classroom.
Students need more than instruction in crafting better writing products to become more effective revisers and more expert writers. They also need explicit instruction that teaches them how to engage effectively in repeated, structured practice that imparts the tools they learn to solve writing problems with staying power and flexibility. This instruction is about more than handy tips or exercises; it’s about changing students’ and teachers’ assumptions about writing’s purpose outside the classroom.
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Youngerman, Irit. "J.S. Bach's Suite in C Major for violoncello solo an analysis through application of a historical approach /." Cincinnati, Ohio : University of Cincinnati, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1037899165.
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Peters, Manfred. "Johann Sebastian Bach als Klang-Redner : die Dispositio der römischen Oratorie als Beitrag zum Formverständnis ausgewählter Instrumentalfugen." Saarbrücken Pfau, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=014738632&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Limeberry, John. "A rhetorical analysis of Pink Floyd's The wall." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722159.
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Through an examination of the album The Wall by the group Pink Floyd, the intention of this study was to answer questions such as tale following in hopes that a clearer understanding of The Walls popularity might be obtained. What are the major and minor events in this musical narrative? Who are the main characters in -111ne narrative? What cause-and-effect relationships are established in the narrative? now did The Wall function rhetorically in achieving a sense of identification with contemporary listeners?The study found that The Wall achieved identification through the use of its themes which centered around war, derisive school systems, parental overprotection. collapse, and extreme alienation.The study notes that The Wall contained substantial social commentary, and states that the rock music form, often belittled as nothing more than hedonistic escapism, is capable of producing work worthy of scholarly examination.Department of Speech Communication
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Barros, Cassiano de Almeida 1978. "A orientação retorica no processo de composição do classicismo observada a partir do tratado Versuch einer anleitung zur composition (1782-1793) de H. C. Koch." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284783.
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Orientador: Helena JankDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa propõe o estudo da Teoria da Composição musical do final do século XVIII a partir da obra Versuch einer Anleitung zur Composition (1782-1793) de H.C. Koch. Concentra-se na orientação retórica dos procedimentos composicionais, em seus aspectos mecânicos e sua regulamentação. O estudo compara o sistema retórico de criação com o sistema de composição musical. Para isso é utilizada como termo auxiliar de comparação a enciclopédia sobre as artes de J.G. Sulzer (1771-1774). Nesta enciclopédia, Sulzer propõe um sistema genérico de criação artística retoricamente orientado para a recém surgida disciplina Estética. Koch adapta o sistema de Sulzer para as especificidades musicais e cria um método de composição de mesma orientação. Sua teoria concilia elementos conservadores e progressistas, regulamentando a Música e sua prática no sistema das Belas Artes e fornecendo subsídios para uma abordagem hermenêutica contemporânea da Música Clássica. Palavras-chave: 1)Koch, Heinrich Christoph; 2)Música; 3)Retórica; 4)Classicismo na Música
Abstract: This research proposes the study of the theory of musical Composition of the second half of the eightteenth century, based on H.C. Koch's essay Versuch einer Anleitung zur Composition (1782-1793). It focuses on the rhetorical orientation of the compositional procedures, its mechanical aspects and its regulation. The study compares the rhetorical system of creation with the system of musical composition. To this end, it is used J.G. Sulzer's encyclopedia of the finearts (1771-1774) as an auxiliar term of comparison. In this work Sulzer proposes to the new Aesthetic dicipline a generical system of artistic creation that is rhetorically oriented. Koch adapts Sulzer's system to the peculiarities of Music and creates a method of Composition with the same orientation. His theory conciliates conservative and progressive tendencies. It regulates Music and musical practice in the fine arts system and provides conditions to a contemporary hermeneutics approach of the Classical Music. Key words: 1)Music; 2)Rhetoric; 3)Classicism in Music
Mestrado
Mestre em Música
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Martelli, Paulo Cesar 1966. "Contribuições da retórica musical nos processos de transcrição da suite BWV 1008 de J. S. Bach para o violão de onze cordas /." São Paulo, 2018. http://hdl.handle.net/11449/153528.
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Orientador(a): Gisela Gomes Pupo NogueiraBanca: Giacomo Bartoloni
Banca: Yara Caznok
Banca: Alexandre Francischini
Banca: Gilson Antunes
Resumo: A presente tese discute as contribuições da retórica musical nos processos de transcrição do repertório solista do compositor alemão J. S. Bach (1685-1750) para o violão de onze cordas, no inglês, alto-guitar. Trata-se de uma pesquisa alinhada aos fundamentos da Musicologia Histórica, que resulta em uma série de transcrições, concertos e gravações historicamente orientadas. Entre os referenciais teóricos adotados estão os autores basilares da Musicologia Histórica, como Harnoncourt (1989), Kermann (1987), Yates (2013) e Bartel (1997), além dos autores brasileiros Nogueira (2011), Souto (2015) e Cardoso (2015). Dos aspectos metodológicos, pode-se classificar esta pesquisa como documental, de cunho bibliográfico. No segundo momento, realizou-se uma análise comparativa entre obras barrocas. Este estudo se justifica por contribuir para as discussões acerca do violão de onze cordas, até hoje pouco explorado acadêmica e artisticamente. Podemos citar também a necessidade de ampliação do repertório para este instrumento, além do incremento às possibilidades de pesquisas a respeito do violão de onze cordas. Buscamos com isso aplicar princípios da retórica musical barroca na elaboração de uma performance musical sobre o repertório alemão do século XVIII. O estudo sobre a obra de J. S. Bach, a partir dos elementos retórico-musicais, deram subsídios para melhor compreensão de seus processos composicionais, e à aquisição de ferramentas teóricas norteadoras dos processos de transcrição do repertório barroco. O concerto da defesa de tese apresenta a transcrição para violão de onze cordas da Suite II para Violoncelo de J. S. Bach. A presente pesquisa teve como resultado final a gravação de um CD e de um DVD, nos quais apresento diversas obras barrocas transcritas para violão de onze cordas, sob a perspectiva da performance historicamente orientada
Abstract: This thesis discusses the contributions o f musical rhetoric in the transcription processes of the solo repertoire composed by J. S. Bach (1685- 1750) for the eleven-string guitar, or alto- guitar. It is a research based on the grounds of Hi storical Musicology, which results in a series of historically oriented transcriptions, concerts and recordings. Among the theoretical references adopted, we utilized the fundamental authors of His torical Musicology, such as Harnoncourt (1989), Kermann (1987), Yates (2013) and Bartel (1997), bes ides Brazilian authors Nogueira (2011), Souto (2015) and Cardoso (2015). In terms of methodology, one can classify this research as documentary, of bibliographic character. In a secon d moment, we realized a comparative analysis between baroque works. This study is justified by i ts contribution to the discussions about the alto-guitar, until now insufficiently explored acad emically and artistically. We can also cite the nee d to expand the repertoire for this instrument, as we ll as to increase the possibilities for research on alto-guitar. We seek to apply principles of baroque musical rhetoric in the elaboration of a musical performance on the German repertoire of the eightee nth century. The study of the work of J. S. Bach, from the rhetoric-musical elements, gave subs idies for a better understanding of its compositional processes, and the acquisition of the oretical tools guiding the processes of transcription of the baroque repertoire. The thesis defense concert features the transcription for alto-guitar from Cello Suite II by J. S. Bach. The present research resulted in the recording of a CD and a DVD, in which I present several Baroque works transcribed for the alto-guitar, from the perspective of historically oriented performance
Doutor
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Rocha, Júnior Atilio Goltardo da 1983. "A elaboração do discurso no Romancero Gitano de Castelnuovo-Tedesco / Lorca /." São Paulo, 2015. http://hdl.handle.net/11449/131846.
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Orientador: Gisela Gomes Pupo NogueiraBanca: Martha L. Herr
Banca: Margareth dos Santos
Resumo: No presente trabalho buscamos refletir a respeito de alguns dos diversos procedimentos extramusicais e interdisciplinares envolvidos na confecção da obra musical Romancero Gitano, de Autoria de Mario Castelnuovo-Tedesco com textos de Federico Garcia Lorca. Para o cumprimento desta tarefa foram considerados procedimentos como retórica e word-painting, bem como levantamento de dados biográficos de compositor e poeta, análises técnico -musicais de cada um dos movimentos da obra e leituras poéticas dos textos
Abstract: In the present work our aim was to reflect on some of the various extra musical and interdisciplinary procedures involved in the confection of the musical work Romancero Gitano, Mario Castelnuovo-Tedesco's authorship, with texts by Federico Garcia Lorca. To achieve this aim we have considered procedures such as rhetoric and word-painting, as well as research on biographical data about composer and poet, technical -musical analysis of each one of the movements of the work and poetical readings of the texts
Mestre
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Soucy, Jean-Philippe. "Six French composers’ homage to Haydn : an analytical comparison enlightening their conception of tombeau." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104366.
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In 1909, the Revue musicale mensuelle de la Societe lnternationale de Musique (RSIM) asked six French composers (Debussy, Dukas, Hahn, d’Indy, Ravel and Wid or) to commemorate Haydn’s centennial anniversary of death by each creating a piano piece that incorporated a theme built with a letter-note correspondence on the word “Haydn”. In the context of the French fin-de-siecle search for musical identity, this collective tombeau represents a unique opportunity to discover what characteristics were important to them. My analysis of the pieces reveals five common elements: enharmonic reinterpretation as a means of exploration of foreign keys, large scale registral connections, dissonant chords for colour, ingenious means of creating unity, and use of past genres and form. The influence of Italian and German culture, as well as French music history and politics are also evaluated. The tom beaux reveal how central the concept of the music of the past was to French composers at the tum of the century and how it pointed the way to post-war neoclassicism.En 1909, la Revue musicale mensuelle de la Société Internationale de Musique (RSIM) demanda à six compositeurs français (Debussy, Dukas, Hahn, d’Indy, Ravel et Widor) d’écrire chacun une pièce pour piano dans le but de commémorer le centième anniversaire de la mort d’Haydn. Leurs pièces devaient incorporer un thème imposé bâti via une correspondance entre des notes et les lettres du mot “Haydn”. Dans le contexte de la quête d’identité des Français de la fin du 1ge siècle, ce tombeau collectif représente une occasion unique de découvrir quelles caractéristiques musicales leur étaient importantes. L’analyse de ces pièces a permis d’isoler cinq éléments communs: réinterprétation enharmonique comme moyen d’exploration de tons éloignés, liaison de registres à grande échelle, utilisation d’accords dissonants dans le but d’obtenir une certaine couleur, moyens ingénieux de créer l’unité et usage de formes et de genres issus du passé. L’influence des cultures allemande et italienne ainsi que celle de l’histoire musicale de la France et de sa politique sont également évaluées. Les tombeaux révèlent l’importance qu’occupe la musique du passé pour les compositeurs français au tournant du 20e siècle et comment cette musique prépare l’avènement du néoclassicisme d’après-guerre.
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Horn, Kristina K. "Paul Simon's Graceland : a fantasy theme analysis." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/560298.
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Chapter one began with an introduction to the rhetorical study of Paul Simon's Graceland album. The events which led to the recording and release of the album were discussed, showing the significance of the album in the context of 1985-86, and research questions were posed, showing the focus of the study. Furthermore, the definition of rhetoric was given beginning with Aristotle's "the faculty of observing in any given case the available means of persuasion" (Rhetoric I: 1356a) through the advancements made by the National Development Project on Rhetoric, which included music in the study of rhetoric. Finally the literature review included articles which showed the relationship between music and rhetorical theory, and James Irvine and Walter Kirkpatrick's six musical variables along with Ernest Bormann's method of fantasy theme analysis were discussed for the purposes of critical analysis. Chapter two presented the historical, political, and social contexts surrounding the recording and release of Graceland. Most importantly, U.S. attempts to intervene in the affairs of South Africa as well as musical attempts at intervention were discussed as background material to understand more clearly the impact of the Graceland album.Chapter three moved from the context to the people involved on Graceland. Paul Simon's and Ladysmith Black Mambazo's musical careers and interests were recounted. The importance of Paul Simon in boosting the careers of Ladysmith Black Mambazo as well as concert co-stars Miriam Makeba and Hugh Masekela was also emphasized.Chapter four presented the critical analysis. First the album analysis based on the musical variables of James Irvine and Walter Kirkpatrick was discussed. What was found on the album itself seemed very innocent and nonsensical; thus, the importance of the media and the ideas it imposed became very clear. However, the major section of analysis involved the identification of mediated fantasy themes based on Ernest Bormann's method of fantasy theme analysis. Chronologically, characters, plots, and settings were portrayed, which helped to explain the development of Graceland as a rhetorical drama. Finally, one overarching rhetorical vision was identified, "The Unification of an Unaware Public," which was evident throughout the drama.Chapter five concluded the findings of the study. Because of the unrealistic goals that the media placed on Graceland, the many successes that came as a result of Paul Simon and Graceland were overshadowed by political controversy. Thus, the impact of the media on the outcome of persuasive events is of the utmost importance to consider.Department of Speech Communication
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Soares, Eliel Almeida. "O emprego da retórica na música colonial brasileira." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-07072017-141033/.
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O discurso musical, entre o final do século XVI e início do XIX, era constituído por elementos retóricos, aliados à organização e a disposição fundamentados na eloquência e persuasão, consequentes de uma transmissão escolástica decorrida desde a Idade Média e no Renascimento, conferindo certo grau de excelência às músicas produzidas tanto na Europa como no Brasil. Tal processo é fruto de contextos histórico-sociais ocorridos desde a Antiguidade, relacionados às obras de tratadistas, pensadores e compositores formando, dessa forma, a base necessária para a concepção estrutural de uma música. Com o propósito de compreender em quais caminhos percorreram esses ensinamentos, a musicologia em meados da década de 1960, iniciou inúmeras pesquisas as quais contribuíram para o desenvolvimento de novos meios analíticos, com o objetivo de clarificar a relação entre música e afeto. Apesar desse crescente interesse, no ambiente luso-brasileiro, os estudos sobre a retórica musical ainda estão em fase inicial, entretanto, procurando desenvolver metodologias mais apropriadas para o entendimento de sua adequação e concepção sistemática, constituídas estruturalmente na música vigente do período investigado. Por esse motivo, essa tese tem por objetivo examinar o uso da retórica na música colonial brasileira, bem como verificar os estudos de caso acerca dessa utilização. Em outras palavras, averiguar o emprego de elementos retóricos em Manoel Dias de Oliveira, José Joaquim Emerico Lobo de Mesquita, André da Silva Gomes e José Maurício Nunes Garcia, utilizando-se de ferramentas analíticas relacionadas ao texto sacro e harmonia, as quais se mostram necessárias à compreensão da linguagem retórica nas obras desses mestres da composição.The Musical discourse, between the late sixteenth and early nineteenth centuries, consisted of rhetorical elements, coupled with organization and layout based on eloquence and persuasion, consequent of a scholastic transmission elapsed since the Middle Ages and the Renaissance, conferring a certain degree of excellence to songs produced both in Europe and in Brazil. This process is the result of historical and social contexts which have occurred since Antiquity, it is related to the work of scholars, thinkers and writers, thus forming the basis for the structural design of a music. The musicology in the mid -1960s, with the purpose to understand the ways these teachings unfold, initiated many studies that contributed to the development of new analytical means, intended to clarify the relationship between music and affect. Despite this growing interest in the Luso-Brazilian environment, the studies on musical rhetoric are still in the initiate stage, however, they are seeking to develop the most appropriate methodologies for understanding their suitability and systematic design, which are structurally composed on the music of the current period investigated. Due to that fact, this thesis aims to examine the use of rhetoric in Brazilian Colonial Music and verify the case studies about such use as well. In other words, its objective is to ascertain the use of rhetorical elements in Manoel Dias de Oliveira, José Joaquim Emerico Lobo de Mesquita, André da Silva Gomes and José Maurício Nunes Garcia, using analytical tools related to the sacred text and harmony, which are necessary for the understanding of rhetorical language in the works of these masters of composition.
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Silva, William Teixeira da 1990. "Uma nova retórica para a música contemporânea." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285202.
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Orientador: Silvio Ferraz Mello FilhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho aborda os vínculos que a música contemporânea mantém com a retórica, dispositivo essencial para a compreensão da música antiga, mas que tem sido deixado de lado na análise de objetos mais recentes. Desse modo, para que a discussão seja coerente a atual realidade, media o estudo o Tratado da Argumentação, escrito por Chaïm Perelman e Lucie Olbrechts-Tyteca, obra fundante que reabilitou os estudos da retórica no século XX por atualizá-la ao pensamento moderno. A partir desse referencial serão discutidas as dimensões em que a retórica integra o discurso musical atual, mais especificamente na análise de peças de Luciano Berio e Giacinto Scelsi
Abstract: This thesis discusses about the relationship between contemporary music and rhetoric, essential device for understanding ancient music, but that has been underrated in the analysis of more recent objects. To update the rhetoric to the current thought this study it is referenced by the Treatise on Argumentation, written by Chaim Perelman and Lucie Olbrechts-Tyteca, since it has rehabilitated studies of rhetoric in the twentieth century. From this framework it is explored the dimensions in which rhetoric integrates the current musical discourse, specifically trough the analysis of pieces written by Luciano Berio and Giacinto Scelsi
Mestrado
Música, Teoria, Criação e Prática
Mestre em Música
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Rocha, Júnior Atilio Goltardo da [UNESP]. "A elaboração do discurso no Romancero Gitano de Castelnuovo-Tedesco / Lorca." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/131846.
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No presente trabalho buscamos refletir a respeito de alguns dos diversos procedimentos extramusicais e interdisciplinares envolvidos na confecção da obra musical Romancero Gitano, de Autoria de Mario Castelnuovo-Tedesco com textos de Federico Garcia Lorca. Para o cumprimento desta tarefa foram considerados procedimentos como retórica e word-painting, bem como levantamento de dados biográficos de compositor e poeta, análises técnico -musicais de cada um dos movimentos da obra e leituras poéticas dos textos
In the present work our aim was to reflect on some of the various extra musical and interdisciplinary procedures involved in the confection of the musical work Romancero Gitano, Mario Castelnuovo-Tedesco's authorship, with texts by Federico Garcia Lorca. To achieve this aim we have considered procedures such as rhetoric and word-painting, as well as research on biographical data about composer and poet, technical -musical analysis of each one of the movements of the work and poetical readings of the texts
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Assumpção, Sérgio Eduardo Martineli de. "Ascendência retórica das formas musicais." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-23072009-204002/.
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Esta pesquisa tem como objetivo investigar as influências e traços da retórica na gênese das formas musicais. Parte-se do pressuposto de que, a partir do desenvolvimento de uma música instrumental autônoma, emancipada da palavra, a herança retórica contribuiu para a disposição formal do material sonoro, bem como para harmonizar coerentemente as relações entre forma e conteúdo. O estudo propõe uma visão da retórica grega e latina contraposta à abordagem tradicionalmente sistemática das formas musicais. Ambas são, então, relacionadas por meio dos conceitos retóricomusicais, estabelecidos e codificados preponderantemente no século XVIII, em consonância com a fundamentação aristotélica. Esta intersecção permite uma reavaliação das práticas analíticas, enriquecendo-as a partir da introdução da metáfora da oração e da função persuasiva que integram o processo composicional. Vislumbra-se, por tais procedimentos, a reavaliação das possibilidades semânticas ocultas pela codificação sintática.This research aims to investigate the influences and traces of rhetoric in the genesis of the musical forms. It is based on the assumption that, starting from the development of an autonomous instrumental music, emancipated from the word, the rhetoric inheritance contributed for the formal disposition of sonorous material, as well to harmonize coherently the relation between structure and content. The study proposes a vision of Greek and Latin rhetoric as compared to the traditionally systematic approach of the musical forms. Both are, then, related through rhetoric-musical concepts, established and codified predominantly in the eighteenth century, in consonance with the Aristotelic bases. This intersection permits a re-evaluation of the analytical practices, enriching them with the introduction of the metaphor of the oration and by the persuasive function that integrates the compositional process. One gains a glimpse, that through such procedures, of the re-evaluation of the semantical possibilities hidden by the syntactic codification.
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Vasques, Juliana Lima. "As canções religiosas de A Pilgrimes Solace de John Dowland: aspectos filosóficos, históricos e retórico-musicais." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-07032019-112740/.
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O presente trabalho investiga as seis peças religiosas de A Pilgrimes Solace (1612), último livro de ayres de John Dowland (1563-1626): In this trembling shadow, If that a sinners sighes, Thou mightie God, When Davids life by Saul, When the poor cripple e Where sinne sore wounding. Para isto, usamos uma abordagem intertextual a fim de situar esta coleção no cenário da Inglaterra dos sécs. XVI-XVII, comparando-a com outras coleções de ayres e canções polifônicas inglesas que misturam os gêneros religioso e secular. Buscamos entender quais foram os eventos que circundaram a publicação desta coleção; as possíveis conexões entre os textos dessas seis peças com o culto da salmodia neste país; as características musicais em comuns ou diferentes de outras peças da mesma época; as relações entre as canções desta coleção e seu título, assim como com o prefácio ao leitor e as relações de patronagem envolvidas nesta publicação. Diante desta perspectiva, a abordagem musicológica deste trabalho é aquela da nova musicologia, proposta por Vicent Duckles, Joseph Kerman e Jean Nattiez. Sugere-se, assim, uma perspectiva que leva em conta a inter-relação entre aspectos históricos, filosóficos, sociais e retórico-musicais. A conexão entre essas áreas foi utilizada para a análise da obra escolhida e contribuiu para situar esta coleção neste período, de modo que ela pudesse ser investigada através de materiais extramusicais: manuais de cortesania, tratados médicos, diários, livros de salmos, livros de teoria musical, entre outros. Em suma, através dessa abordagem descrevemos o cenário em que as coleções de ayres estavam inseridas, a relação entre música e devoção e a função da música nesta sociedade. Com isto, percebemos que A Pilgrimes Solace é uma mistura não só de gêneros, mas também de estilos musicais, de ambientes (canções relacionadas à privacidade ou a celebrações públicas) e de funções, já que essa coleção aborda tanto aspectos da música relacionada à função religiosa quanto à recreação do espírito. Em relação às peças religiosas, através da análise retórico-musical, foi possível perceber o lamento como elemento principal representado pela música, assim como os aspectos que se relacionam à jornada do eu-lírico nestas canções: dores, angústias, arrependimento verdadeiro, fé em Deus, paciência ao esperar o conforto divino e a remissão de seus pecados. Por fim, através das análises comparativas com obras de autores como William Byrd, Thomas Campion e John Milton, entre outros, inferimos que Dowland tende a usar lugares-comuns para representar este tipo de texto, convergindo com o estilo musical destes compositores. Contudo, ele infringe com mais frequência as regras do contraponto quando o poema exige, carrega suas peças com cromatismos e se preocupa em criar uma imagem musical mais contundente das situações que as personagens enfrentam.This research intends to investigate the six religious songs of John Dowland\'s A Pilgrimes Solace, his last book of airs (1612): In this trembling shadow, If that a sinners sighes, Thou mighty God, When Davids life by Saul, When the poore cripple e Where sinne sore wounding. To this end, we approach this dissertation through an intertextual method in order to place this collection in the England scenario during 16th and 17th centuries, comparing it to other ayres collections and polyphonic English songs which mix religious and secular music genres. Therefore, we seek to understand which events surrounded the publication of this collection, the possible connections between the texts of these six songs and the psalm singing cult in this country, the musical characteristics in common or not with other contemporaneous works and the relation between the songs of this collection and its title and preface to the reader as well as the patronage\'s relations evolved in this publication. Regarding this perspective, the musicological approach is that from the new musicology proposed by Vicent Duckles, Joseph Kerman e Jean Nattiez, suggesting, thus, an interrelation among historical, philosophical, social, and musical-rhetoric aspects. Therefore, the connection between these areas were chosen for the analysis of this collection and contributed to place it in this period of time, investigating it through extramusical aspects: conducting books, medical treatise, diaries, book of psalms, books of contemporaneous musical theory, among others. To summarize, through this approach we described the scenario in which the ayres collections were inserted, the relation between music and devotion, and the function of music in that society. Having said that, we perceived that A Pilgrimes Solace is a mix not only of musical genre, but also of musical style, environment (songs related to privacy or public celebrations) and function, since this collection deals with religious function as well as recreational purposes. Regarding the religious songs, through the musical-rhetoric analysis, we could perceive the lament as the main element to be represented through music as well as the aspects related to the versifier\'s journey in these songs: sorrows, moans, true repentance, faith in God, patience to wait for his comfort and redemption of sins. Finally, through the comparative analysis with William Byrd, Thomas Campion e John Milton, we inferred that John Dowland tend to use common places to represent this type of text, converging with the musical style of those composers; however, Dowland frequently brakes the counterpoint rules when the poem demands, fills his pieces with cromatism and creates an image of the situation in which the characters are facing.
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Barros, Cassiano de Almeida 1978. "A teoria fraseológico-musical de H.C. Koch (1749-1816)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284457.
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Orientador: Helena JankTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho propõe a abordagem hermenêutica da teoria fraseológica de Heinrich Christoph Koch (1749-1816), considerada, desde o século XVIII, a mais clara e completa sistematização fraseológica de sua época. O objetivo é compreender historicamente como se manifesta a relação entre a gramática musical, a retórica e a estética nessa teoria, investigando as técnicas de invenção, concatenação e desenvolvimento do pensamento musical elaboradas para a persuasão, além da natureza das próprias unidades de pensamento musical, como a frase, o período, estrutura e forma. A fim de reconstituir o horizonte de sentido dessa teoria e compreender a relação entre suas partes constituintes, são examinados os tratados, ensaios e artigos de Koch e os estudos atuais relacionados. O estudo do pensamento musical setecentista e de seus mecanismos criativos conduz a uma compreensão particular do repertório neles fundamentado, na medida em que recupera parâmetros próprios dessa produção musical para os quais nossa percepção não é sensível. Isso se torna evidente na última parte do trabalho, na qual a teoria fraseológica de Koch é aplicada na análise do primeiro movimento do quarteto de cordas em sol maior, KV 387 de W. A. Mozart, obra recomendada por Koch como modelar de seu gênero
Abstract: This work proposes the hermeneutical approach of Heinrich Christoph Koch's (1749-1816) phraseological theory, considered the most clear and complete phraseological systematization of his time since eighteenth century. The objective consists in achieving a historical comprehension of how the relation among musical grammar, rhetoric and aesthetics manifests itself in this theory. It will be investigated the techniques of creation, concatenation and development of musical thought, the influence of persuasion in the application of these techniques and the nature of the units of musical thought, such as phrase, period, structure and form. In order to reconstruct the horizon of meaning of this theory and to comprehend the relation among its constituent parts, it will be examined Koch's treatises, essays and articles and the contemporary studies related to them. The study of the eighteenth century musical thought and its creative procedures conducts to a particular comprehension of the repertoire founded on them, in so far as this study recovers the own parameters of this musical production, to which our perception is not sensible. It becomes evident in the last part of this work, in which Koch's phraseological theory is applied in an analysis of the first movement of W. A. Mozart's string quartet in G major, KV 387, a piece that is recommended by Koch as being a model for its genre
Doutorado
Fundamentos Teoricos
Doutor em Música