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Journal articles on the topic 'Music and rhetoric'
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DEMEYERE, EWALD. "ON BWV1080/8: BETWEEN THEORY AND PRACTICE." Eighteenth Century Music 4, no. 2 (September 2007): 291–99. http://dx.doi.org/10.1017/s1478570607000966.
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The application of rhetoric to music had special significance in the seventeenth century and in the first half of the eighteenth century. The discipline of classical Greek oratory, originally dealing with how to make and execute a speech, formed the basis for the rules of composition and performance, especially in German-speaking lands. During this period the influence of rhetorical principles on all parameters of music was commonplace; not only did a vast number of treatises on rhetoric in music emerge, but the central educational programme taught in the Latin schools and the universities included both musica and rhetorica among the seven artes liberales. That rhetoric was also a fundamental part of Bach’s music-making is shown by the following testimony from Johann Abraham Birnbaum (1702–1748), Professor of Poetics and Rhetoric at Leipzig: ‘He so perfectly understood the resemblance which the performance of a musical piece has in common with rhetorical art that he was listened to with the utmost satisfaction and pleasure when he discoursed of the similarity and agreement between them; but we also wonder at the skilful use he made of this in his works’.
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Kalό, Ildiko. "Considerations on the Elements of Musical Language in ‘La casa di peste drum’ [At the House across the Road] by Tudor Jarda." Musicology Papers 35, no. 1 (November 1, 2020): 35–40. http://dx.doi.org/10.47809/mp.2020.35.01.02.
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When we speak about musical rhetoric, rhetorical figures, or elements related to musica poetica, we almost always automatically think about the Baroque and, why not, about Johann Sebastian Bach`s music. However, few of us realize that the roots of these notions trace back to the Renaissance, and even fewer will relate them to Martin Luther`s name and the Protestant Reformation. The principles of musical rhetoric developed mainly in the North German space, although they were also present in other countries such as Italy, France and England. It was Germany, however, that in those times most enthusiastically adopted and adapted the terminology, methods and structures of ancient rhetoric. In his Musica Poetica, the German musicologist Dietrich Bartel explains the rise of musical rhetoric in Germany as a consequence of Martin Luther`s view of music being embraced by the Christian believers. Over the sixteenth to eighteenth centuries, musical rhetoric was continuously enriched and perfected, generating an extremely elaborate art whose focus was to find equivalences between rhetorical figures and musical intervals. Thus, music acquired a higher degree of accuracy of expression.
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Goodman, Mark, Stephen Brandon, and Melody Fisher. "1968: Music as Rhetoric in Social Movements." IRA-International Journal of Management & Social Sciences (ISSN 2455-2267) 9, no. 2 (November 29, 2017): 71. http://dx.doi.org/10.21013/jmss.v9.v2.p4.
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<p>In 1968 social movements sparked rhetorical discourses which occurred in many nations and on hundreds of colleges and in communities across the United States. These rhetorical discourses ultimately changed the direction of human events. Sometimes these points of ideological protests shared views on specific issues, especially demonstrations against the Vietnam War, but each conflict was also its own local conflict. There is no evidence that any specific group organized the protests, or that speakers motivated demonstrations, or that the rhetoric of one protest caused other protests. Yet, the protests were not just spontaneous fires that happened to occur in the same year. So, how is it that so many protesters shared the desire for change and shared rhetoric, but each protest was sparked by local issues? Answering that question provides insight into how the rhetoric of social movements occurred in 1968. </p><p> Many scholars call for the study of the social movements of the 1960s. Jensen (1996) argues, “The events of the 1960s dramatically increased the interest in studying social movements and forced rhetorical scholars to reconsider their methods for studying public discourse” (p. 28). To Lucas (2006), “Words became weapons in the cultural conflict that divided America” (x). Schippa (2001) wrote, “Many accounts identify the 1960s as a turning point. For better or for worse, there was a confluence of changing rhetorical practices, expanding rhetorical theories, and opportunities for rhetorical criticism. The cultural clashes of the 1960s were felt perhaps most acutely on college campuses. The sufficiency of deliberative argument and public address can be said to have been called into question, whether one was an antiwar activist who hated LBJ's war in Vietnam or a pro-establishment stalwart trying to make sense of the rhetoric of protest and demonstration. Years later, scholars would characterize war itself as rhetorical. What counted as rhetorical practice was up for grabs”(p. 261).</p> First, this paper will frame the protest movement of 1968. Then, we will search for the common factors that shaped the protests of 1968, focusing on the role of music. This analysis will provide insight into how music became a rhetorical force in a significant social movement of the 20th Century.
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Gibson, Jonathan. "““A Kind of Eloquence Even in Music””: Embracing Different Rhetorics in Late Seventeenth-Century France." Journal of Musicology 25, no. 4 (2008): 394–433. http://dx.doi.org/10.1525/jm.2008.25.4.394.
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Abstract French rhetoricians of the seventeenth century——among them Franççois Féénelon, Bernard Lamy, Renéé Bary, and Renéé Rapin——brought about a profound shift in the landscape of their discipline. Their texts call into question the centrality of rhetorical figures (part of the elocutio), the dispositio, and other artful rhetorical precepts, while placing increased emphasis on delivery (pronuntiatio). In most cases, they realized this new emphasis via one of two novel approaches: the first relied upon a Cartesian taxonomy of the passions, whereas the second sought to abandon precepts altogether in the quest for transparent, or ““Natural,”” representation. Even while adopting contrasting methods, representatives of both approaches were unanimous in regarding rhetoric and music as sister disciplines. Furthermore, French musicians and rhetoricians alike rejected the prevailing idea that the relationship between these disciplines was hierarchical, with rhetoric the dominant sibling. This shift helps to explain why the notion that music ““imitates”” the structures and conventions of rhetoric, while popular in other regions, is to be found in no French source after ca. 1640. Yet, many recent studies continue to perpetuate such hierarchies, mapping onto musical works rhetorical concepts unknown or consciously avoided in France. Relating a nuanced depiction of multiple French rhetorical practices to music-centered writings by Bacilly, La Croix, Lecerf, Grimarest, and others reveals that the very same aesthetic positions evident among rhetoric texts also shaped the era's discourse on music. More broadly, because no tradition existed in French musical discourse of articulating aesthetic matters until Lecerf's Comparaison de la musique italienne et de la musique franççaise (1704––1706), the intersection of music and rhetoric offers a rare means of constructing an aesthetics of musical eloquence in seventeenth-century France.
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Thatelo, Mopailo Thomas. "Afrocentric analysis of music in political advertisements of the Economic Freedom Fighters (EFF)." Communicare: Journal for Communication Studies in Africa 41, no. 2 (December 15, 2022): 65–74. http://dx.doi.org/10.36615/jcsa.v41i2.1431.
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In 2009, South Africa saw another landmark with the introduction of political advertisements on television. Literature is littered with studies of political advertisements on television. In these studies, 1) background music is merely an accompaniment to advertisement voiceover and images, rather than an argument itself. Little is known about 2) the discursive role of background political music as a means of conveying political messages in political television advertisements, 3) the underlying ideology and 4) Afrocentric rhetoric in political music used in political television advertisements. Considering the above, this paper interrogates the Afrocentric perspective underlying the rhetoric of background music in the political television advertisements of the South African opposition political party, the Economic Freedom Fighters (EFF) from 2014 to 2021. This study employs the decolonial thought of the Afrocentric perspective as a theory and a research method to interrogate underlying rhetoric in political music. Findings of the paper revealed that the EFF background music is highly political, Afrocentric and inherently rhetorical.
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Oliinyk, Oleksandr L. "Interconnection of rhethoric and music art." Linguistics and Culture Review 5, S4 (October 23, 2021): 254–68. http://dx.doi.org/10.21744/lingcure.v5ns4.1581.
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From the beginning of its formation, rhethoric had an undeniable impact on music. It mostly concerns rhethoric being the basis for the construction of a musical sound continuum which is valuable for developing the skills of improvisation. The process of transformation of the basic elements of rhetoric was presented. The authors mentioned the initial positions of rhetoric and their connection with music art. Ways of realization of traditional parts of rhetoric (Inventio, Dispositio, Elocutio, Memoria, Pronuntatio) in music were studied. Attention was paid to stringed and plucked instruments, including domra as an academic folk instrument, and possible ways to use rhetorical components. The process of academization of domra was characterized. It led to aggravating the problem of improvisation in the presentation of material. The intensity of the artistic component in the creative construction of the instrumental playing and in the essence of the artist’s performing position was determined.
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Ra, Julie. "Baroque Music and Rhetoric." Yonsei Music Research 18 (December 31, 2011): 41–64. http://dx.doi.org/10.16940/ymr.2011.18.41.
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Paschoal, Stéfano. "Anáfora ou repetição em Música: figura e recurso expressivo." ouvirOUver 13, no. 1 (May 25, 2017): 216. http://dx.doi.org/10.14393/ouv20-v13n1a2017-16.
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A base do trabalho que ora se apresenta é a Retórica clássica latina, tal qual apresentada na obra “Rhetorica ad Herennium”, cuja autoria se atribui, ainda que de forma polêmica, a M.T. Cícero. A Retórica clássica latina exerceu grande influência na produção literária e retórica dos séculos posteriores, mais expressivamente durante a Renascença e o século XVII. É interessante notar que não apenas o âmbito literário recebe influências da Retórica, mas também outro, a saber, possuidor de linguagem própria, distinta e autônoma: a música. São profícuos os tratados que buscam demonstrar as relações entre Retórica e Música, afirmando ser a música, mesmo, passível de uma análise retórica. Isto criou o que se pode chamar de “retórica musical”. Apresentaremos aqui um breve panorama sobre Retórica e Música no século XVII alemão e enfatizaremos como se evidenciam em textos musicais diversos a anáfora.
PALAVRAS-CHAVE
Retórica, música, figuras de linguagem.
ABSTRACT
This paper relies on Latin Rhetoric as presented in the book “Rhetorica ad Herennium”. It is interesting to observe that not only literature becomes influenced from Rhetoric, but also another area, which consists itself in a specific and independent language: Music. German 17th century doesn’t receive Rhetoric influences only in the literature, intending – through imitation and emulation in a language policy programme – the formation of a national language and literature, but also in the Music. We will briefly present a panorama about assimilation of rhetoric means in Music during Renaissance and 17th century and emphasize how an important part of elocution – the figures of speech – becomes clear in the “musical” text. In this paper we show how one can find examples of anaphor in two different musical examples.
KEYWORDS
Rhetoric, music, figures of speech.
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Olena, Kholodkova. "G. Ph. Telemann’s Concertos for Four Violins withoutbassocontinuoin the aspect of onomatopoeic and figurative rhetoric." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 54–70. http://dx.doi.org/10.34064/khnum2-24.03.
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Statement of the problem. In musicology there has long been a tacit belief that Baroque music is the music of rhetoric, rhetorical figures and affects. In Baroque aesthetics, rhetoric, which is an important element of Baroque poetics, is perceived as an integral part of the content of a musical piece that together with form, harmony, counterpoint and musical expression form its integral substance. The study of Baroque music from the perspective of the rhetorical aspect gives a clearer comprehension of the work, understanding the context, and the competent interpretation of the composer’s idea. Analysis of recent research and publication. The theoretical assumptions of this article are based both on historical treatises (M. Praetorius, Ch. Bernhard, J. Mattheson) and authoritative works of researchers who studied theoretical issues of historically informed performance of the late XX – early XXI century (D. Bartel, L. Dreyfus), including relatively new works (M. Zgółka, P. Zawistowski, A. Mocek). M. Zgółka (2016) adopts a rather traditional approach to rhetoric, which operates with rhetorical figures and affects, and at the same time offers an innovative division of rhetoric into three varieties. Referring to the most important treatises L. Dreyfus (2004) makes us think about the relevance of making parallels between oratory and musical rhetoric highlighting common features and differences. A. Mocek’s (2019) view on musical rhetoric and on the studies devoted to it is quite critical. The main objective of the study is to examine G. Ph. Telemann’s Concertos for Four Violins without basso continuo from the perspective of figurative and onomatopoeic rhetoric. The scientific novelty. In this research for the first time, Telemann’s Concertos were analyzed from the perspective of onomatopoeic and figurative rhetoric. The concept of division of rhetoric into three categories (onomatopoeic, figurative, symbolically mystical) was proposed by the Polish violinist and theorist M. Zgółka (2016). The author uses the following methods in this research: historical, typological, comparative and structural-functional analysis. Results. The analysis of four concertos demonstrates that G. Ph. Telemann uses not only figurative type of rhetoric but also onomatopoeic, successfully combining these two categories. In comparison with, for example, A. Vivaldi or H. I. F. von Biber, the palette of sound imitative techniques in the concertos of G. Ph. Telemann is not so diverse and comprehensive, however, elements of onomatopoeic rhetoric can be found both in fast and slow movements: sound of organ or bells as well as sound images of nature. The composer does not refuse from the elements of figurative rhetoric. Like in his duo sonatas, these are mainly represented by figures that describe a melodic motion. Such techniques are often found in polyphonic quick movements. In the lyrical slow movements, similarly to the duo sonatas, harmony, polyphony and intervals are brought to the fore. Conclusions. G. Ph. Telemann’s cycle of Concertos for Four Violins without continuo is an interesting example of chamber music not only in terms of composition but also from the view point of the usage and combination of various types of musical rhetoric. Knowledge of the rhetorical component brings researchers and performers to a new, more comprehensive level of understanding of the composer’s music, allowing us to consider the emotional content not only of the work as a whole, but also of each single intonation.
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McClelland, John. "Music with Words: Semiotic/Rhetoric." Rhetorica 8, no. 3 (1990): 187–211. http://dx.doi.org/10.1525/rh.1990.8.3.187.
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Dewberry, David R., and Jonathan H. Millen. "Music as Rhetoric: Popular Music in Presidential Campaigns." Atlantic Journal of Communication 22, no. 2 (March 15, 2014): 81–92. http://dx.doi.org/10.1080/15456870.2014.890101.
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NEGREA, Ana Maria. ""Rhetorical figures and symbols in the aria Vidit suum from Stabat Mater by G.B. Pergolesi"." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 135–44. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.15.
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The concept of musical rhetoric, closely connected with the affect theory, temperaments, and number symbology constituted one of the main preoccupations of composers and theorists in the Renaissance and Baroque eras. Rhetorical figures have developed in vocal music and had the role of underlining the significances of the text in an expressive way. Subsequently, they came to be used in instrumental music too, their interpretation being conditioned by the musical context. A perfect joining of rhetorical elements with religious text can be found in the work ""Stabat Mater"" by G.B. Pergolesi. The aria ""Vidit suum"" illustrates the dramatic moment of Christ death, through the music loaded with number symbols and suggestive rhetorical figures."
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VARWIG, BETTINA. "ONE MORE TIME: J. S. BACH AND SEVENTEENTH-CENTURY TRADITIONS OF RHETORIC." Eighteenth Century Music 5, no. 2 (September 2008): 179–208. http://dx.doi.org/10.1017/s1478570608001486.
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ABSTRACTAlthough the question of a connection between Bach’s music and the discipline of rhetoric has been raised repeatedly in the past, the proposed solutions have rarely taken into account the particular kind of rhetorical thinking prevalent in the eighteenth century. In this article, I show that a notion of rhetoric initially developed by Erasmus of Rotterdam and perpetuated in seventeenth-century writings, which focused on argumentative procedures involving variation and amplification, continued to underlie poetic and musical theory in Bach’s time. By articulating fundamental creative patterns that came to underpin a variety of disciplines, this Erasmian model can provide the starting-point for a reassessment of rhetorical techniques in Bach’s music, shifting the focus from isolated moments of affective decoration to the formal-expressive trajectories that shape the layout of whole pieces. Constituted in the interplay of compositional processes and their listening reception, these trajectories emerge as the result of the skilful arrangement of musical phrases into individual and flexible large-scale designs that often leave aside or undercut the supposed structural conventions of concerto or aria forms. The first movement of the third ‘Brandenburg Concerto’, bwv1048, serves as an example of how an awareness of these seventeenth-century rhetorical and musical legacies makes possible a thorough reconsideration of Bach’s compositional strategies.
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Gorbman, Claudia. "Aesthetics and Rhetoric." American Music 22, no. 1 (2004): 14. http://dx.doi.org/10.2307/3592963.
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Ranum, Patricia. "Audible rhetoric and mute rhetoric: the 17th-century French sarabande." Early Music 14, no. 1 (February 1986): 22–40. http://dx.doi.org/10.1093/earlyj/14.1.22.
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FADER, DON. "The Honnêête homme as Music Critic: Taste, Rhetoric, and Politesse in the 17th-Century French Reception of Italian Music." Journal of Musicology 20, no. 1 (January 1, 2003): 3–44. http://dx.doi.org/10.1525/jm.2003.20.1.3.
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ABSTRACT The French concept of Taste (goûût) has largely been viewed from an 18th-century tradition of aesthetics in which philosophers attempted to incorporate it into a rationalized systematic theory of musical expression. Its original 17th-century usage, however, was derived from the principles of classical rhetoric and noble etiquette, or politesse. Following the tenets of Cicero communicated by humanist writers, these principles require the ideal gentleman (the honnêête homme) to adapt his knowledge and talents (agrééments) to the requirements of good society just as an orator carefully chooses the appropriate rhetorical figures to convince and move his hearers. According to the principles of rhetoric, any overuse of figures (or agrééments) vitiates their very effectiveness by drawing attention to their artificiality. Thus the 17th-century understanding of taste required the concealment of labor, knowledge, and ““artifice”” behind an effortlessly ““natural”” and pleasing courtly facade. This concept of taste became influential in courtly contexts of amateur music-making in the early part of the century, when it was incarnated by Pierre de Nyert, whose manner of singing was hailed as the model of ““politesse du chant.”” The principles of politesse played a significant role in the controversy over Italian music, whose perceived overuse of ““learned”” musical figures (dissonance, chromaticism, and other techniques) was viewed as a bourgeois flaunting of musical talent and rhetorical artifice.
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Holmberg, Carl Bryan. "Toward the rhetoric of music: Dixie." Southern Speech Communication Journal 51, no. 1 (December 30, 1985): 71–82. http://dx.doi.org/10.1080/10417948509372647.
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DICKSON, IAN. "Orality and Rhetoric in Scelsi's Music." Twentieth-Century Music 6, no. 1 (March 2009): 23–41. http://dx.doi.org/10.1017/s1478572210000046.
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AbstractIn his later music Giacinto Scelsi rejected the mediation of notation, improvising his works and viewing the scores, produced mostly by assistants, as a mere record. But to what extent did he really transcend the ‘tyranny of writing’ and how might one demonstrate this? Critics have tended to echo the composer in reducing the problem to an opposition between writing and sound per se. In this article I discuss the limitations of this view and propose a more structural approach, using in particular the analysis of Walter Ong. I argue that Scelsi's idiom, while novel in its extreme economy of means, uses these means in such a way as to restore a traditional sense of musical ‘grammar’. I illustrate the rhetorical versatility of this grammar by contrasting the two apparently similar movements of the Duo of 1965.
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Bandy, Dorian. "Beethoven's Rhetoric of Embellishment." 19th-Century Music 46, no. 2 (2022): 125–62. http://dx.doi.org/10.1525/ncm.2022.46.2.125.
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This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the role of embellishments in the composition and performance of concertos (with a focus on the Piano Concertos Nos. 3–5); second, the role of embellishments in evoking musical character and expressive personae (with a focus on the Piano Sonata op. 31, no. 3, the Violin Sonata op. 30, no. 1, and the Cello Sonata op. 5, no. 1); and finally, the possibility of understanding embellishment as a musical topic in symphonic writing (with a focus on the slow movements of the Symphonies Nos. 4, 8, and 9). The article closes with reflections on the expressive function of embellishments in Beethoven's late style, arguing that melodic decorations, along with other rhetorical devices, provided a vehicle for the evocation of nostalgia and memory.
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JONES, RHYS. "BEETHOVEN AND THE SOUND OF REVOLUTION IN VIENNA, 1792–1814." Historical Journal 57, no. 4 (November 12, 2014): 947–71. http://dx.doi.org/10.1017/s0018246x14000405.
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ABSTRACTBeethoven the revolutionary is fading from history. Ossified by the Romantic tradition and, under the pressure of recent revision, reconsidered as conservative and prone to power worship, Beethoven's music has been drained of its radical essence. Yet his compositions also evoked the sonic impact of revolution – its aesthetic of natural violence and terrifying sublime – and so created an aural image of revolutionary action. Through stylistic appropriations of Luigi Cherubini and others, Beethoven imported the rhetorical tropes of French revolutionary composition to the more culturally conservative environment of Vienna. But where the music of revolutionary Paris accompanied concerted political action, the Viennese music that echoed its exhortative rhetoric played to audiences that remained politically mute. This inertia was the result of both a Viennese mode of listening that encouraged a solely internalized indulgence in revolution, and a Beethovenian musical rhetoric that both goaded and satisfied latent political radicalism. Far from rallying the public to the figurative barricades, then, the radical content of Beethoven's music actually helped satiate – and thereby stymie – the outward expression of rebellion in Vienna. This article is a bid to reaffirm the revolutionary in Beethoven.
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Oliinyk, Oleksandr L. "The Fundamental Elements of Rhethoric and their Impact on Music Art." Revista Gestão Inovação e Tecnologias 11, no. 4 (July 22, 2021): 2443–58. http://dx.doi.org/10.47059/revistageintec.v11i4.2294.
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The article is devoted to the fundamental positions of rhetoric and their embodiment in music, which corresponds to the modern conditions of performing art activity. The methodological basis of the article is the position of linguistic musicology, presented by the heirs of B. Asafiev’s school in Ukraine, in which the concept of “musical vocabulary of the era” holds an honorable place. Particular attention is devoted to the features of stringed and plucked instruments, which make up the specifics and emblem of national Ukrainian art. The laws of rhetoric, especially the inventio principles, fixing the tone-sound specifics of expressive sound production were studied. The intensity of the artistic component in the creative construction of the instrumental playing and in the essence of the artist’s performing position was determined. The scientific novelty of work determined theoretical innovation for the Ukrainian musicology of the problem of rhetorical inventio in music and its application in musicological discourse.
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Chapman, Juliana. "Musicus Animal in the Nun’s Priest’s Tale." Chaucer Review 57, no. 3 (June 1, 2022): 368–90. http://dx.doi.org/10.5325/chaucerrev.57.3.0368.
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ABSTRACT The Nun’s Priest’s Tale abounds with musical references—a fact that is often obscured by a common scholarly focus on the roles of philosophy and rhetoric in the tale. What has been lost in those readings is the medieval understanding of music as a branch of philosophy, rather than as mere entertainment. Restoring music to its proper place alongside rhetoric, as coequal branches of medieval philosophy, shifts the framework of the tale, providing a new structure for how to read it. In negotiating music as philosophy through the story of a rooster, Chaucer interrogates three major tenets of Boethian and medieval music theory that tie, respectively, to the plot’s structure, to Chauntecleer’s characterization, and to the final implications of the theme of social and moral harmony. These tenets and their complementary narrative features align and overlap, as Chaucer invites his audience to question the limitations of music and rhetoric in this beast fable.
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Borschke, Margie. "Rethinking the Rhetoric of Remix." Media International Australia 141, no. 1 (November 2011): 17–25. http://dx.doi.org/10.1177/1329878x1114100104.
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How did ‘remix’, a post-production technique and compositional form in dance music, come to describe digital culture? Is it an apt metaphor? This article considers the rhetorical use of remix in Lawrence Lessig's case for copyright reform in Remix: Making Art and Commerce Thrive in the Hybrid Economy (2008). I argue that Lessig's understanding of remix is problematic, as it seems unable to accommodate its musical namesake and obscures the particular history of media use in recent music culture. Drawing on qualitative analysis of popular music cultures, I argue that the conceptualisation of remix as any media made from pre-existing media is problematic. The origins of remix, I argue, provides a lens for thinking critically about the rhetorical uses of the term in current discourse and forces us to ponder materialities. My aim is not to dispute the word's contemporary meaning or attempt to establish a correct usage of the term – clearly a wide variety of creators call their work remix; instead, this article considers the rhetorical work that remix is asked to perform as a way of probing the assumptions and aspirations that lurk behind Lessig's argument.
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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.
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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along with various synonyms and antonyms borrowed from grammar and rhetoric and applied to music, in a number of writings, from classical times onwards.
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Kumanyika, Chenjerai. "‘We demand justice. We just getting started’: the constitutive rhetoric of 1Hood Media's hip-hop activism." Popular Music 34, no. 3 (September 8, 2015): 432–51. http://dx.doi.org/10.1017/s0261143015000355.
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AbstractThe hip-hop activism of Pittsburgh's 1Hood Media has been a key element of the success of several contemporary social justice campaigns, such as the 2010 Justice For Jordan Miles police brutality case. After offering some background on 1Hood Media and a discussion of constitutive rhetoric, this study offers a close reading of 1Hood's rhetorical appeal, focusing on the ways in which the audience is constituted as both collective and individual subjects whose participation in the narrative is essential to its closure. 1Hood Media's texts focus on a diverse range of victims of injustice who suffer at the hands of police brutality and murder, and other forms of systemic oppression. The villains in these narratives are institutional forces, such as racist police forces, or corrupt Wall Street banks. By focusing on music, lyrical and visual features of 1Hood's cultural products, this study contributes to studies of popular music, hip-hop, rhetoric and cultural politics.
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Smith, Peter H. "Brahms and Subject/Answer Rhetoric." Music Analysis 20, no. 2 (July 2001): 193–236. http://dx.doi.org/10.1111/1468-2249.00136.
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Cone, Edward T. "On Derivation: Syntax and Rhetoric." Music Analysis 6, no. 3 (October 1987): 237. http://dx.doi.org/10.2307/854204.
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Ledbetter, David. "Review: A question of rhetoric." Early Music 33, no. 2 (May 1, 2005): 331–32. http://dx.doi.org/10.1093/em/cah077.
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Bartel, Dietrich. "Rhetoric in German Baroque Music: Ethical Gestures." Musical Times 144, no. 1885 (2003): 15. http://dx.doi.org/10.2307/3650721.
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Stokes, Jordan. "In Search of Machaut’s Poietics." Journal of Musicology 31, no. 4 (2014): 395–430. http://dx.doi.org/10.1525/jm.2014.31.4.395.
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Guillaume de Machaut’s Le Remede de Fortune has often been described as a didactic work addressed to would-be poets. This essay argues that the Remede also should be read as an implicit work of rhetorical and musical instruction. To this end, the Remede is placed in dialogue with Machaut’s more explicit account of the creative process in the Prologue, with other romans à chansons, such as Nicole de Margival’s Dit de la panthère d'amours, and with medieval theories of rhetoric and music, eventually arriving at a rhetorical reading of the Remede's large-scale structure, a didactic reading of the work's musical interpolations, and a fresh insight into Machaut's understanding of his own creative process.
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WLODARSKI, AMY LYNN. "The Repercussions of George Rochberg's Rubble Rhetoric." Twentieth-Century Music 19, no. 2 (June 2022): 219–27. http://dx.doi.org/10.1017/s147857222200010x.
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AbstractDuring the Second World War, the American composer George Rochberg served as an infantryman with the US Army in Europe. There, he witnessed first hand the aftermath caused by massive firebombing of the French countryside by both Allied and Axis bombers, an image that would remain with him for the remainder of his life. In his post-war writings, the rubbled city of Saint-Lô soon became a metaphor for the precarious state of Western culture, which he believed had suffered a grave injury. This article considers how Rochberg reconstructed his wartime sketches – short miniatures composed during the European campaign – into material for his Sixth Symphony (1986). I argue that Rochberg clearly conceived of musical reconstruction as a means by which to symbolically confront the modernist forces he believed accountable for the decline of Western culture that he increasingly perceived towards the end of his life. The article ends with a cautionary epilogue to this time-worn narrative of rubble, reconstruction, and redemption that challenges Rochberg's false sense of moral superiority and the motivations of ‘rubble narratives’ more generally.
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Stolp, Mareli. "New Music for New South Africans: The New Music Indabas in South Africa, 2000–02." Journal of the Royal Musical Association 143, no. 1 (2018): 211–32. http://dx.doi.org/10.1080/02690403.2018.1434354.
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ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festival in South Africa, the first of which was presented in 2000 by New Music South Africa (NMSA), the South African chapter of the International Society for Contemporary Music (ISCM). It explores the New Music Indabas of 2000–02 against the background of the political and cultural transformations that characterized South Africa, especially in the aftermath of the end of apartheid. Research into the archive of NMSA provided an entry point into understanding South African cultural, social and political life in the early years of the country's democracy. The ‘separate development’ rhetoric of the totalitarian apartheid regime, in power from 1948 to 1994, prevented cultural exchange and connection between musics and musicians in South Africa for decades; this article explores the ways in which the New Music Indabas attempted to right these historical imbalances, and to forge new directions for South African art-music production and practice.
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Cain, Melissa. "Musics of ‘The Other’: Creating musical identities and overcoming cultural boundaries in Australian music education." British Journal of Music Education 32, no. 1 (February 23, 2015): 71–86. http://dx.doi.org/10.1017/s0265051714000394.
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The binary opposition between ‘own music’ and ‘other's music’ is the ‘result of deep conditioning’ (Drummond, 2010, p. 118) and is almost impossible to overcome.By exploring the underlying constructs that influence students’ and teachers’ perceptions of minority cultures and their musics, this paper explores the notion of ‘the other’ in Australian music education. In particular, how the many factors which play a role in cultural identity serve to both promote and prevent musical understanding and appreciation. An examination of Australian multicultural policy and music curriculum documents in the state of Queensland provides a foundation for the discussion of data obtained from interviews with teachers from state and private primary schools in the capital Brisbane. The results reveal that while music educators are generally inquisitive about incorporating musics of ‘other’ cultures into their lessons, they are less comfortable with crossing cultural boundaries, and do not wish to threaten the position of Australia's own musical culture – ultimately highlighting a disconnect between policy, rhetoric and practice in the area of culturally diverse music education in classrooms today.
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O'CALLAGHAN, JAMES. "Spectral Music and the Appeal to Nature." Twentieth-Century Music 15, no. 1 (February 2018): 57–73. http://dx.doi.org/10.1017/s1478572218000063.
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AbstractDiscourse surrounding spectral music frequently makes reference to nature and related language. Practitioners, theorists, and musicologists have discussed different aspects and perspectives on the idea of nature in the relation to this music and it is not always clear that these terms are used in the same way. This article examines the different meanings of ‘nature’ applied to various concepts and techniques in spectral music, the extent to which these descriptors may be misleading, and the cultural context and possible motivations for the use of this kind of rhetoric. Through a discussion of the derivation structure in spectral music, a focus on human perception, metaphorical references to nature, the rhetoric surrounding the harmonic series and instrumental (re)synthesis, and finally mimetic references to nature in music using spectral techniques (including a discussion of the music of François-Bernard Mâche), the article endeavours to provide a thorough survey of the subject.
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Harrison, Daniel. "Rhetoric and Fugue: An Analytical Application." Music Theory Spectrum 12, no. 1 (April 1990): 1–42. http://dx.doi.org/10.1525/mts.1990.12.1.02a00010.
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SUKMARAGA, AYYUB ANSHARI. "TINJAUAN VISUAL DESAIN KEMASAN DAN SAMPUL ALBUM BAND INDIE MOCCA PADA ALBUM BERFORMAT AUDIO CD." Serat Rupa Journal of Design 1, no. 1 (January 19, 2018): 171. http://dx.doi.org/10.28932/srjd.v1i1.448.
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For five decades, music industry has become profitable business. The big music industries then make innovation with attractive packaging design for cover album. The innovation intended to persuade people to buy the album not just listen to musics by downloaded it, although it can’t reduce music piracy that become giant problems for music industries. One of Indonesian indie band that aware for this activities is Mocca.This research is analyzing an how the visual perception of shape, structure, material, color and elements in Mocca’s CD packaging and album cover’s design, can create visual sensation to people. It is analyze people’s interpretation from the typography in Mocca’s packaging design and cover album. The aim of this research is to identify symbols, sensation, layout, and people’s interpretation from Mocca’s albums. For the result on this research, will compared by the respondents result through semantic’s theory as will be verified using the results of the analysis of rhetoric. The result from this research is shown that use of the visual system in Mocca’s packaging and design album covers can impact the visual sensation and persuade people when they see visual markings on Mocca’s packaging as well as the album covers. Mocca’s CD quality can compete with band from big music companies. This Mocca’s success from their packaging design dan cover albums art could be the example for other band or music industries to gain their value in art, so it will give better product sales. Keywords: cover; indie band; packaging; visual analysis; rhetoric analysis
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Shannon, Jonathan H. "THERE AND BACK AGAIN: RHETORICS OF AL-ANDALUS IN MODERN SYRIAN POPULAR CULTURE." International Journal of Middle East Studies 48, no. 1 (January 14, 2016): 5–24. http://dx.doi.org/10.1017/s0020743815001440.
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AbstractThis article explores the rhetorical function of al-Andalus (medieval Spain) in modern Syrian popular culture, with a focus on music. The rhetoric of al-Andalus in Syria is intimately related to the project of nation building. The nostalgic performance of links between modern Syria and medieval al-Andalus assumed great rhetorical force in the 1960s as a result of ideologies of pan-Arabism, the loss of Palestine, the rise of Islamist threats at home, and the emergence of petrodollar regimes in the Arabian Gulf. As a result, the rhetoric of al-Andalus became “good to think” for wide audiences of Syrians. Musical genres linked to al-Andalus play an important role as potent vehicles for constructing Syrian memory cultures. Drawing on heavily mythologized and nostalgic visions of an Andalusian golden age, musical performance in Syria sonically reinforces forms of nostalgic remembrance and enacts claims on Syrian pasts, presents, and futures.
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Krause, Daniel. "Musikkritische Muster – Zur Rhetorik der Rezensionsprosa." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 58, no. 2 (2013): 123–28. http://dx.doi.org/10.28937/1000106215.
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Es fällt nicht leicht, musikkritische Urteile durchschaubar zu machen. Ihr Begründungsdefizit wird mit rhetorischen Mitteln kaschiert. Diese wurden bislang kaum erforscht. Im Folgenden sollen einige dieser Mittel vorgestellt werden.<br><br>Music critics find difficulty in substantiating their claims. They tend to use rhetoric in order to compensate for the lack of evidence. These rhetorical devices have not been scrutinized yet. Thus it seems useful to deal with them.
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Grenier Borel, Eugénie. "The Shanghai Conservatory of Music and its Rhetoric." China Perspectives 2019, no. 3 (September 1, 2019): 27–35. http://dx.doi.org/10.4000/chinaperspectives.9391.
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Martani, Sandra. "Music and rhetoric in ekphonesis: The neume synemba." Muzikologija, no. 11 (2011): 13–24. http://dx.doi.org/10.2298/muz1111013m.
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In the development of ekphonetic notation, three phases are recognized: the pre-classical (9th-10th c.), the classical (11th-12th c.) and the degenerate system. By the end of the 12th century, in some manuscripts the rules of application of the neume pairs had already changed, so that the system during the 13th and the 14th centuries is misinterpreted and after the 15th century is completely forgotten. Within this framework, some Gospel lectionaries of the 11th-12th centuries show a particular use of the neume synemba. In this study, different combinations with the neume synemba are analysed in connection with both the grammatical structure of the text and its meaning, and with the liturgical time in which the pericopes were read.
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Lehmann-Wermser, Andreas. "Music Education in Germany: On Policies and Rhetoric." Arts Education Policy Review 114, no. 3 (July 2013): 126–34. http://dx.doi.org/10.1080/10632913.2013.803420.
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BOSE, M. "HUMANISM, ENGLISH MUSIC AND THE RHETORIC OF CRITICISM." Music and Letters 77, no. 1 (February 1, 1996): 1–21. http://dx.doi.org/10.1093/ml/77.1.1.
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Krupej, Mihail. "Universal skill of saxophonist as phenomenon modern of musical-creative practice." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 113–18. http://dx.doi.org/10.32461/2226-2180.39.2021.238702.
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The purpose of the article is to select practice-approved ways to the combinatorial presentation of the componentі of the musical expression, in which, on the base of the general beliefs about music-rhetorical base inventio tax ways of the joining to speech liberty of the combinatorial use the music material. The methodology consists of riverbed intonation approach that is to say by means of beliefs about the unity of process factors in music and speech, as this bequeathing in works of B.Asafiev and his followers in Ukraine, unrolled specified interdisciplinary generalization, on example text books A.Losev, R.Ingarden, E.Nazaykinkij, E.Markova and others. The scientific novelty of the work is based on original and the practically-creative approved the idea of joining in mechanism rhetorical inventio, practical persons, combinatorial collation fragment and holistic music that-image, which the sequence forms the speech continuum of the music. Conclusions. The made analysis of the theoretical life lengths from the theory of the improvisation and theoretical positions of the rhetoric has allowed formulating the concrete operations cortical music operations of inventio as a way of the semantic join generalising value that-symbol with author's and out author’s thematic acquisition in straightening of acquisition "spoken creation of the music". The last one meets the terms modern performance art with his "neo-gothic style" discharge from priority to composer activity.
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ȘUTEU, Ligia-Claudia. "The psychology of music creation." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 305–12. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.33.
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This study aims to conduct a study on the origins of music creation and its metamorphosis. A parallel is drawn between improvisation and composition, making analogies with other fields such as rhetoric and literature. The two terms incorporate a series of processes, mental structures and a thorough preparation, clear examples found in previous eras, improvisation having a leading place in Baroque and Classicism. The article aims at psychological models encountered in improvisation and composition, creativity being investigated in this context. Improvisation and composition present a series of similarities and differences, being argued by presenting the main theories, which are based on a psychological profile of the individual, carefully studied over the decades. The metaphysics of music and the physical and mental processes that the composer or improviser goes through, have often been associated with other fields of research, such as language, theater, poetry, rhetoric and much more. Their study and presentation have as role the artistic development of the complete musician, whether it is a soloist, composer or improviser.
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Hodgson, Thomas. "Spotify and the democratisation of music." Popular Music 40, no. 1 (February 2021): 1–17. http://dx.doi.org/10.1017/s0261143021000064.
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AbstractThe corporate rhetoric of streaming platforms often assumes a tight link between their scale-making ambitions on the one hand and the creative interests of musicians on the other. In practice, most musicians recognise that claims of musical ‘democratisation’ are deeply flawed. The creative ambivalence this produces is an understudied pillar in scholarship on digital music platforms and suggests that these systems can be more creatively constrictive than empowering. Based on ethnographic research among Spotify engineers, record labels and musicians, this article explores how music recommendation systems become inculcated with a corporate rhetoric of ‘scalability’ and considers, following Anna Tsing, how this impacts musical creativity further down the value chain. I argue that the ‘creative ambivalence’ that these technologies produce should be more fully understood as woven into a complex web of social relations and corporate interests than prevailing claims of technological objectivity and ‘democratisation’ suggest.
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WILSON, CHARLES. "György Ligeti and the Rhetoric of Autonomy." Twentieth-Century Music 1, no. 1 (March 2004): 5–28. http://dx.doi.org/10.1017/s1478572204000040.
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Composers’ self-representations – in articles, programme notes, and interviews – have exerted a significant influence on twentieth-century music scholarship, shaping not only the reception of particular outputs but also wider historiographical conceptions of the recent past. This article traces one particular mode of discourse through the published statements of György Ligeti – a ‘rhetoric of autonomy’, which tends to disavow allegiances to ‘schools’ or institutions and underplay stylistic or aesthetic commonalities with the work of other composers. This type of rhetoric, together with the image it promotes of an artistic culture created out of the polarized activities of individuals, colludes naturally with the now familiar pluralist paradigm of late-twentieth-century culture, a paradigm that much postmodern theory, despite its putative deconstruction of the ‘ideology of the unique self’ (Jameson), has left largely unchallenged. Except that, for an artist such as Ligeti, the rhetoric of autonomy may no longer accomplish its objective purpose. Within a cultural sphere increasingly subsumed by the commercial, the image of the radically autonomous creator, once powerfully symbolic of a refusal of the mass market, becomes inescapably caught up in its mechanisms as an explicitly promotional tool.
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Osborne, Richard. "Success ratios, new music and sound recording copyright." Popular Music 36, no. 3 (October 2017): 393–409. http://dx.doi.org/10.1017/s0261143017000319.
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AbstractThis article addresses the uses that record companies have made of two rhetorical tropes. The first is that only one in 10 artists succeed. The second is that they are investing in new music. These two notions have been combined to give the impression that record companies are taking risks both economically and aesthetically. They have been employed to justify the companies’ ownership of sound recording copyright and their system of exclusive, long-term recording contracts. More recently, the rhetoric has been employed to combat piracy, extend the term of sound recording copyright and account for the continuing usefulness of record companies. It is the argument of this article that investment in new music is not necessarily risk-taking; rather, it is the policies derived from risk-taking that provide the financial security of record companies.
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Aquila, Dominic A. "Music as a Liberal Art: The Poetry of the Universe." Religions 13, no. 9 (August 29, 2022): 792. http://dx.doi.org/10.3390/rel13090792.
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This article explores the place of music in the classical liberal arts curriculum, which consists of the trivium (the arts of language) and the quadrivium (the arts of number). Music is part of the quadrivial disciplines and studied as applied arithmetic. However, as argued in this article, it is also a bridge to the discipline of rhetoric, which is part of the trivium. The article begins with a brief review of St. Augustine’s De Musica, the first in a planned (but unrealized) series of dialogs on the value of the classical liberal arts to the emerging Christian culture of Antiquity. It proceeds to a discussion of music and its relation to the contemporary American liberal arts curriculum. Two case studies follow that address the ontological reality of music as a time-bound medium, and attempts to mute this reality in the service of creating a sense of timelessness. Thus subsuming the temporal into the Divine–what Augustine called “a poem of the universe”. The first case study is Dante Alighieri’s Paradiso, which is a journey through the heavens with each planet representing one of the seven liberal arts as preparatory to the Beatific Vision. The second case study focuses on J.S. Bach’s attempts to create a sense of timelessness in the St. Matthew Passion by the use of musical forms and musical rhetorical devices that tend to abolish time. The article concludes with suggestions on how teachers can use 20th and 21st-century movements in Western art music as pathways to appreciate music’s pivotal role in the Catholic liberal arts tradition.
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Elkan, Olga B. "MUSIC TEXT VERBALIZATION AND VISUALIZATION IN THE MUSIC RHETORIC OF J. S BACH." Scholarly Notes of Komsomolsk-na-Amure State Technical University 2, no. 33 (March 26, 2018): 72–78. http://dx.doi.org/10.17084/ii-2(33).14.
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Petrovic, Ivana, and Andrej Petrovic. "General." Greece and Rome 65, no. 2 (September 17, 2018): 282–97. http://dx.doi.org/10.1017/s0017383518000244.
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I was very excited to get my hands on what was promising to be a magnificent and extremely helpfulHandbook of Rhetorical Studies, and my expectations were matched – and exceeded! This handbook contains no less than sixty contributions written by eminent experts and is divided into six parts. Each section opens with a brief orientation essay, tracing the development of rhetoric in a specific period, and is followed by individual chapters which are organized thematically. Part I contains eleven chapters on ‘Greek Rhetoric’, and the areas covered are law, politics, historiography, pedagogy, poetics, tragedy, Old Comedy, Plato, Aristotle, and closing with the Sophists. Part II contains thirteen chapters on ‘Ancient Roman Rhetoric’, which similarly covers law, politics, historiography, pedagogy, and the Second Sophistic, and adds Stoic philosophy, epic, lyric address, declamation, fiction, music and the arts, and Augustine to the list of topics. Part III, on ‘Medieval Rhetoric’, covers politics, literary criticism, poetics, and comedy; Part IV, on the Renaissance contains chapters on politics, law, pedagogy, science, poetics, theatre, and the visual arts. Part V consists of seven essays on the early modern and Enlightenment periods and is decidedly Britano-centric: politics, gender in British literature, architecture, origins of British Enlightenment rhetoric, philosophy (mostly British, too), science, and the elocutionary movement in Britain. With Chapter 45 we arrive at the modern age section (Part VI), with two chapters on feminism, one on race, and three on the standard topics (law, political theory, science), grouped together with those on presidential politics, New Testament studies, argumentation, semiotics, psychoanalysis, deconstruction, social epistemology, and environment, and closing with digital media. The volume also contains a glossary of Greek and Latin rhetorical terms. As the editor states in his Introduction, the aim of the volume is not only to provide a comprehensive history of rhetoric, but also to enable those interested in the role of rhetoric in specific disciplines or genres, such as law or theatre and performance, to easily find those sections in respective parts of the book and thus explore the intersection of rhetoric with one specific field in a chronological sequence.