By Dietrich Bartel. Lincoln: University of Nebraska Press, ISBN This substantial book, an expanded version of the author's Handbuch der musikalisohen Figurenlehre Laaber: Laaber-Verlag, , follows a long tradition in music theory of producing compendia of knowledge taken from previous writers. An impressive work of collation and comparison, Musica Poetica can be seen as a continuation, for example, of that very eighteenth-century encyclopedic enterprise of Johann Gottfried Walther, who, in his Musikalisches Lexicon of , collected a large number of definitions of rhetorical figures, many of them culled from prior sources.
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Benito V. Rivera also provides comments on chordal sonorities li and on mode and cadence liv , and takes the reader on a tour of his own translating workshop lix; see also , which is especially interesting and sympathetic. Generally, this book is handsomely produced, with an incredibly small number of typos; however, the transcription of part of the chart on p.
These terms are found not only applied to the famous figures, but also in discussions of rhythm, consonance and dissonance, voice-leading, chromaticism, and mode. It seems that wherever one of these buzzwords pops up, Rivera is on it, giving us a citation from a Classical or German rhetorician.
Disparata , for instance, is the new category for the sharp diezeugmenon and flat synemmenon signs. Burmeister gives the clearest demonstration I know of the step-by-step composition of an imitative point p. He places the theme statements diagonally in the four voices, then fills in the blanks mostly with whole notes, the schematic result of a mechanical procedure.
Later he allows that any one of the voices could be the leader, but he specifies that the lowest-sounding voice must come in under the first answering voice. Laying out the leader diagonally in each of the four voices as he did for fuga realis , Burmeister plucks out other melodies from his original harmonic combination to use as the various countersubjects.
This didactic method of composing polyphony — by pulling apart the voices of a harmonic combination and stringing them together sequentially — is occasionally encountered even in our day.
Therefore the whole context must be examined. In other words. We call the exordium naked when the voices do not all enter [together] but follow one after the other. Metalepsis , for instance, substitutes the second phrase both music and text of a point of imitation as the first music sung by some voices. Other unique terms include pallilogia and aposiopesis. I see no reason why we should reject these except that we judge ourselves harshly, and therefore we suffer from a poverty of language.
More than authentic antiques, they offer precise and unique descriptions of things found in music, and may be applied wherever they seem appropriate, as Patrick Macey has done in his study of a Josquin motet. Peter N. Montreal, Quebec H3A 1E3 cypn musica. Deutsche Musiktheorie des Jahrhunderts, zweiter Teil, von Calvisius bis Mattheson. Geschichte der Musiktheorie , v. Return to text. Gallus Dressler, Praecepta musicae Poeticae , Magdeburg, , ch. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author s , and advance notification of the editors of MTO.
Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.
This document and all portions thereof are protected by U. Review of Musical Poetics by Joachim Burmeister. Translated, with Introduction and Notes, by Benito V. Edited by Claude V. PDF text. Return to beginning. Prepared by Cara Stroud, Editorial Assistant.
Musica Poetica: Musical-Rhetorical Figures in German Baroque Music