BARTEL MUSICA POETICA PDF

Music has frequently been referred to as a universal language. The music of the Baroque era is just such a dialect, growing out of the language of Renaissance music, yet with a content fundamentally distinct from the aesthetics and semantics of Enlightenment or Romantic musical expression. Throughout the twentieth century musicians and musicologists alike have concerned themselves with deciphering and interpreting the language of Baroque music. This interest in authentic Baroque performance practice has revolutionized the interpretation of Baroque music, spawning countless performing groups and artists who further the cause of Baroque authenticity with Baroque bows, gut strings, and valveless horns, all tuned to appropriate Baroque pitch. Likewise, in the discipline of musicology, a great deal of scholarly energy has been invested into a myriad of historical and theoretical questions, resulting in a focus of increasing attention on the relationship between music and rhetoric during this period. The call for a more systematic study of music and rhetoric, specifically regarding the musical-rhetorical figures, initially was issued by Schering in an article published shortly after the turn of the century.

Author:Nak Marg
Country:China
Language:English (Spanish)
Genre:Photos
Published (Last):27 March 2009
Pages:379
PDF File Size:11.60 Mb
ePub File Size:3.71 Mb
ISBN:424-6-62522-182-2
Downloads:99628
Price:Free* [*Free Regsitration Required]
Uploader:Fenrigis



Music has frequently been referred to as a universal language. The music of the Baroque era is just such a dialect, growing out of the language of Renaissance music, yet with a content fundamentally distinct from the aesthetics and semantics of Enlightenment or Romantic musical expression.

Throughout the twentieth century musicians and musicologists alike have concerned themselves with deciphering and interpreting the language of Baroque music. This interest in authentic Baroque performance practice has revolutionized the interpretation of Baroque music, spawning countless performing groups and artists who further the cause of Baroque authenticity with Baroque bows, gut strings, and valveless horns, all tuned to appropriate Baroque pitch. Likewise, in the discipline of musicology, a great deal of scholarly energy has been invested into a myriad of historical and theoretical questions, resulting in a focus of increasing attention on the relationship between music and rhetoric during this period.

The call for a more systematic study of music and rhetoric, specifically regarding the musical-rhetorical figures, initially was issued by Schering in an article published shortly after the turn of the century. The seed thus planted brought forth abundant fruit in the following generation of primarily German musicologists, particularly in the. An unknown error has occurred.

Please click the button below to reload the page. If the problem persists, please try again in a little while. No cover image. Read preview. Synopsis Musica Poetica provides an unprecedented examination of the development of Baroque musical thought. The initial chapters, which serve as an introduction to the concept and teachings of musical-rhetorical figures, explore Martin Luther's theology of music, the development of the Baroque concept of musica poetica , the idea of the affections in German Baroque music, and that music's use of the principles and devices of rhetoric.

Dietrich Bartel then turns to more detailed considerations of the musical-rhetorical figures that were developed in Baroque treatises and publications. After brief biographical sketches of the major theorists, Bartel examines those theorists' interpretation and classification of the figures. The book concludes with a detailed presentation of the musical-rhetorical figures, in which each theorist's definitions are presented in the original language and in parallel English translations.

Bartel's clear, detailed analysis of German Baroque musical-rhetorical figures, combined with his careful translations of interpretations of those figures from a wide range of sources, make this book an indispensable introduction and resource for all students of Baroque music.

Excerpt Music has frequently been referred to as a universal language. The seed thus planted brought forth abundant fruit in the following generation of primarily German musicologists, particularly in the 1. Boomgaarden Peter Lang, Read preview Overview. Journal of the Evangelical Theological Society, Vol. We use cookies to deliver a better user experience and to show you ads based on your interests. By using our website, you agree to the use of cookies as described in our Privacy Policy.

DISRAFIA ESPINAL OCULTA - PDF

Musica Poetica : Musical-Rhetorical Figures in German Baroque Music

We use cookies to give you the best possible experience. By using our website you agree to our use of cookies. Dispatched from the UK in 2 business days When will my order arrive? Home Contact us Help Free delivery worldwide. Free delivery worldwide. Bestselling Series.

BAYBO BAUVORLAGENVERORDNUNG PDF

Musica Poetica: Musical-Rhetorical Figures in German Baroque Music

Dietrich Bartel. Musica Poetica provides an unprecedented examination of the development of Baroque musical thought. The initial chapters, which serve as an introduction to the concept and teachings of musical-rhetorical figures, explore Martin Luther's theology of music, the development of the Baroque concept of musica poetica , the idea of the affections in German Baroque music, and that music's use of the principles and devices of rhetoric. Dietrich Bartel then turns to more detailed considerations of the musical-rhetorical figures that were developed in Baroque treatises and publications.

GOLD WALKUPS ROSS JEFFRIES PDF

Open Music Library Update

.

Related Articles