Music, Rhetoric, and Oratory
Abstrak
Abstract I began the first chapter by imagining aliens trying to understand the human practices of making and listening to music. I now ask you to focus on one particular time in the history of Western music. In the sixteenth-century, composers began to develop substantial pieces of instrumental music which could take five or more minutes to perform. Sixteenth-century keyboard composers provide the earliest familiar examples of such music. How could they organize a piece in a way which would both hold the listener’s interest and impose a unity on the music? The answer to this question has a double significance. I shall suggest that the formal models for musical structure were, in part, drawn from classical discussions of rhetoric. But, as we shall see, rhetorical models have a pro-founder significance, for they provide the basis for a solution to the problem which has occupied us till now, the question of musical expression.
Penulis (1)
R A Sharpe
Akses Cepat
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Cek di sumber asli →- Tahun Terbit
- 2000
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- en
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- DOI
- 10.1093/oso/9780198238850.003.0003
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