Musical Rhetoric: Foundations and Annotation Schemes

Contents

• PREFACE xi
• CHAPTER 1 . an introduction TO CLASSICAL RHETORIC 1
• 1.1. A few basic definitions 2
• 1.2. The structure of rhetoric 4
• 1.2.1. Rhetoric and communication 5
• 1.2.2. The structure of classical rhetoric 6
• 1.2.3. The invention step 7
• 1.2.4. The arrangement 9
• 1.2.5. The style or elocution step 12
• 1.2.6. The delivery or action 14
• 1.2.7. The facets of rhetoric 15
• 1.3. Some figures of speech 17
• 1.3.1.
• Introduction 17
• 1.3.2. The major figures of speech of interest in music rhetoric 18
• 1.4. Argumentation and explanation 21
• 1.5.
• Conclusion a few historical milestones of traditional rhetoric 25
• 1.6. A few historical
• references for classical rhetoric 28
• CHAPTER 2 . LANGUAGE, MUSIC AND THE RHETORIC DISCOURSE 31
• 2.1. Music and language 31
• 2.1.1. On the relations between language and music 32
• 2.1.2. Going into the details of music parameters, music for rhetoric 36
• 2.1.3. Music and rhetoric 42
• 2.2. A few historical milestones of music rhetoric emergence and evolution 43
• 2.2.1. The Middle Ages and the Renaissance 44
• 2.2.2. The transition between the Renaissance and the Baroque period 48
• 2.2.3. The Baroque period 51
• 2.2.4. The Classical period 54
• 2.2.5. The Romantic period 56
• 2.3. Main contemporary trends in music rhetoric 58
• CHAPTER 3 . THE SYMBOLISM OF MUSICAL ELEMENTS 61
• 3.1. Symbolic and perceptual properties of modes and tonalities 62
• 3.2. Perceptual and symbolic properties of intervals 65
• 3.3. Musical figures and their role in rhetoric 67
• 3.4. Figures of rhythm and their roles in rhetoric 74
• 3.5. Motive alternations 79
• 3.6. Figures of counterpoint 80
• 3.7. The symbolism of numbers and proportions 83
• 3.8. The rhetoric contents of classical forms 87
• 3.8.1. The perception of large forms 87
• 3.8.2. The simple bi- and tripartite forms 88
• 3.8.3. The sonata forms 95
• 3.9.
• Conclusion 98
• CHAPTER 4 . FEATURE STRUCTURES FOR REPRESENTING MUSICAL CONSTRUCTIONS 101
• 4.1. Feature structures in language 102
• 4.2. Representation of a melody by a feature structure 104
• 4.3. From musical motives to polyphony 109
• 4.4. Dealing with harmony 110
• 4.5. A few generic operations of feature structures 112
• 4.5.1. Transformations by augmentation or diminution 112
• 4.5.2. Mirror forms 114
• 4.5.3. Reverse forms 116
• 4.5.4. A few other transformations 117
• 4.5.5. Expressive power of this formalism 117
• 4.6. Elements of annotation of musical structures in XML 118
• 4.6.1. Basic feature structures 118
• 4.6.2. Advanced XML annotations for two-dimension structures 120
• 4.6.3. Figures of sound in XML 121
• 4.7. Perspectives 125
• CHAPTER 5 . A RHETORIC ANALYSIS OF MUSICAL WORKS 127
• 5.1. Discourse theories in linguistics 128
• 5.1.1. The rhetorical structure theory 129
• 5.1.2. The pragma-dialectic movement 131
• 5.2. The rhetoric of the stylus phantasticus 132
• 5.3. The rhetoric and argumentation dimensions of J.S. Bach s C. minor Passacaglia 140
• 5.3.1. The global structure and the symbolic of numbers 140
• 5.3.2. The structure of the argumentation in the Passacaglia 142
• 5.4. The dialectics of the personality split 147
• 5.5. Beethoven s Muss es sein? Question and debate 149
• 5.5.1. The personal context 149
• 5.5.2. The questions and their formulations 150
• 5.5.3. The response formulations 155
• 5.6. A high-level notation for the structure of musical works 161
• 5.7.
• Conclusion 166
• BIBLIOGRAPHY 167
• INDEX 177