Integrating Musical Topics and Rhetorical Figures into the Analysis of Musical Form

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61988987%3A17500%2F25%3AA2603DH6" target="_blank" >RIV/61988987:17500/25:A2603DH6 - isvavai.cz</a>

Výsledek na webu

<a href="https://iseacv.gva.es/documents/162972573/396396118/harma2025_book_indexat-2.pdf/fca05e05-a8ef-6f51-2bd7-9231caf6e832?t=1758099481151" target="_blank" >https://iseacv.gva.es/documents/162972573/396396118/harma2025_book_indexat-2.pdf/fca05e05-a8ef-6f51-2bd7-9231caf6e832?t=1758099481151</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Integrating Musical Topics and Rhetorical Figures into the Analysis of Musical Form

Popis výsledku v původním jazyce

Topic theory has uncovered an extensive thesaurus of characteristic musical topoi (hunt, military, pastoral, storm, learned style, singing style, sensitive style etc.), which appear widely in the instrumental (as well as vocal) music of the eighteenth century (and beyond). This thesaurus should be consulted by any musician or listener who aspires for stylistic competence appropriate to the repertoire at hand. Given the association of topics with different social contexts and cultural practices, topics are highly capable of linking seemingly abstract instrumental music with a rich network of cultural associations (hunting music, for example, is associated with masculinity, chivalry, adventure, the outdoors, and the like). Musical-rhetorical figures belong a somewhat obscure chapter of seventeenth- and eighteenth-century music theory. With their Latin and Greek names, competing classifications, conflicting definitions and roots in classical rhetoric (once commonly taught at schools, but now largely forgotten), they often seem nebulous and hardly fit for purpose. However, when used judiciously, they can illuminate important rhetorical aspects of music, which often features rhetorical questions (interrogatio), exclamations (exclamatio), interruptions (abruptio), hesitations (dubitatio), expressive chromaticism (pathopoeia), ascending/descending/circular motion (anabasis/catabasis/circulatio), sighs (suspiratio) and other rhetorical features which amplify music’s expressive power. The aim of this paper is to show how these approaches can be integrated into the conventional framework of a Caplinian formal analysis and applied to eighteenth-century instrumental music. I will explore how musical topics and rhetorical figures are used to differentiate individual parts of common formal designs (such as sonata form or rondo), which thus become transformed from abstract schemata into expressive or even dramatic trajectories.

Název v anglickém jazyce

Integrating Musical Topics and Rhetorical Figures into the Analysis of Musical Form

Popis výsledku anglicky

Topic theory has uncovered an extensive thesaurus of characteristic musical topoi (hunt, military, pastoral, storm, learned style, singing style, sensitive style etc.), which appear widely in the instrumental (as well as vocal) music of the eighteenth century (and beyond). This thesaurus should be consulted by any musician or listener who aspires for stylistic competence appropriate to the repertoire at hand. Given the association of topics with different social contexts and cultural practices, topics are highly capable of linking seemingly abstract instrumental music with a rich network of cultural associations (hunting music, for example, is associated with masculinity, chivalry, adventure, the outdoors, and the like). Musical-rhetorical figures belong a somewhat obscure chapter of seventeenth- and eighteenth-century music theory. With their Latin and Greek names, competing classifications, conflicting definitions and roots in classical rhetoric (once commonly taught at schools, but now largely forgotten), they often seem nebulous and hardly fit for purpose. However, when used judiciously, they can illuminate important rhetorical aspects of music, which often features rhetorical questions (interrogatio), exclamations (exclamatio), interruptions (abruptio), hesitations (dubitatio), expressive chromaticism (pathopoeia), ascending/descending/circular motion (anabasis/catabasis/circulatio), sighs (suspiratio) and other rhetorical features which amplify music’s expressive power. The aim of this paper is to show how these approaches can be integrated into the conventional framework of a Caplinian formal analysis and applied to eighteenth-century instrumental music. I will explore how musical topics and rhetorical figures are used to differentiate individual parts of common formal designs (such as sonata form or rondo), which thus become transformed from abstract schemata into expressive or even dramatic trajectories.

Druh

D - Stať ve sborníku

CEP obor

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OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2025

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název statě ve sborníku

Book of Abstracts of the HarMA Seminar Event

ISBN

978-84-482-7081-0

ISSN

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e-ISSN

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Počet stran výsledku

4

Strana od-do

33-36

Název nakladatele

Institut Superior d’Ensenyances Artístiques de la Comunitat Valenciana

Místo vydání

València

Místo konání akce

València

Datum konání akce

14. 4. 2025

Typ akce podle státní příslušnosti

EUR - Evropská akce

Kód UT WoS článku

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