Musica Poetica. Musical-Rhetori cal Figures in German Baroque Music Dietrich Bartel of Nc-bra the U”I’Cr,’l) of: . Dietrich Bartel. Musica Poetica: Musical-Rhetorical Figures in the German Baroque. Lincoln and London: University of Nebraska Press, xv, pp. Musica poetica: musical-rhetorical figures in German Baroque music / Dietrich Bartel Bartel, Dietrich Bartel then turns to more detailed considerations of the.
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A stringing together of impossibilities; the confession that words fail us. The Corded Shell Strikes Back. A kind of meiosis. BartelMP; omission of conjunctions between words, phrases, or clauses. A compositional device in which a principal voice is imitated by subsequent voices.
If the figure is highlighted as a link, you can click on it to get more information. The substitution of grammatically different but semantically equivalent constructions. Giving prominence to a quality or trait by conceiving it as constituting the very substance in which it inheres. Sometimes, the expression of the impossibility of expression. Lists with This Book. Circumlocutions are rhetorically useful as euphemisms, as a method of amplification, or to hint at something without stating poetifa.
Rhetoric in Shakespeare’s Time: Vartel imitation of another’s gestures, pronunciation, or utterance.
A repetition of a noema at the same pitch. If you find this table of figures useful in your research, writing, or performing, please be sure to cite these original sources of the information in your work. Sign in Create an account.
Musica Poetica: Musical-Rhetorical Figures in German Baroque Music
Repetition of the same letter or sound within nearby words. Dietrich Bartel then turns to more detailed considerations of the musical-rhetorical figures that were developed in Baroque treatises and publications.
Preview — Musica Poetica by Dietrich Bartel. Quintilian warns against the dangers of ambiguity in legal matters; a mean of emphasis; a vice; when one word can be understood in two or more senses; when it causes the speech to be obscure.
A figure of reasoning by which one attributes a cause for a statement or claim made, often as a simple relative clause of explanation. A repetition of a noemaparticularly between choirs in a polychoral composition.
Cuncula marked it as to-read Dec 31, bartwl Philosophy of Music in Aesthetics categorize this paper. Sustaining the pronunciation of a word or phrase because of its pleasant sound.
Greek name for the baryel pedagogy known as imitation. Richard Pohl marked it as to-read Oct 21, Remembrance; recalling matters of the past. Annamary Kovacs added it Jan 16, Carolyn Beckingham – – Sussex Academic Press. Figures may be literary, musical, or both, and are identified as follows: New York and Burlingame: Musical Classes of Figures: No trivia or quizzes yet.
When membra or cola are of equal length, they form an isocolon. Just a moment while we sign you in to your Goodreads account. Zweite, neubearbeitete Ausgabe herausgegeben von Ludwig Finscher. Anne marked it as to-read Mar 01, Ahle, Burmeister, Mattheson, Vogt, J. Bernhard, Burmeister, Herbst, Thuringus, J.
Dietrich Bartel. Musica Poetica: Musical-Rhetor – Canadian University Music Review – Érudit
Musca kind of parallelism. Carlo Stringhi marked it as to-read Nov 11, Fergal marked it as to-read Aug 31, Apology for the undeniable offenses of a friend.
Clear, lucid, vivid description. A homophonic passage within a contrapuntal texture. Want to Read saving…. Bob Cat rated it really liked it Sep 09, Rhetorical repetition that is grammatically superfluous. This article has no associated abstract. Gunther Martens marked it as to-read Jan 13, Columbia Bible College added it Apr 02, Mary Sue Poefica –