Musica Poetica

Musica l-Rhetorical Figures in German Baroque Music

Dietrich Bartel

Uni\'{'r~iIY
of Nc-bra<;ka Pre:.s
Lincoln :uld London
 CONTENTS

Introduction VB
C 199711> the U"I'Cr,'l) of :-,iebra.ka I'rc, .
,\11 n~hb re!tCrH~d
Ma"l,lf~c.un:o.I in rh.: Unllcd SlalC'~ of Amc'rica PART O NE
8~ paper in rill) bool IllC"Ch lhe n,in,mum re<juiH'mcnh of
A"""nc~n 1'0110111.1 Slamlwrd r"r Infurma""n s.:"'.....,~-I\>mlanenc"
of Pa rer (Of Pmlled I ibmry ~lal cna". ,,~, 7 .19 ~ II- r<Jll ~
Librnry of Con~rc)) Cal :ll"l!'inl!'.i n .Publo~ ah"n Data
JNTRODUCTlON TO THE CONCEPTS
Rartet. DIetrich
Mu ,i<:a ptlClkll" mu, ocal -rhClortCal fil!'lIft'S in {i('rman Baroque Luther on Music: A Theological Basis for
mu'lc I Die trich Rartel. p. em I{CI" and enL eu (If:
H,mdbuch ..leT rnu . 'kali ...... hc n I' igurenkhrc . lnduoc, German Baroque Music 3
biblingr;,phka l references and index
Toward Musica Poelica: The Emergence of a
ISAN 0-8032 - ( 116-J (..I: al k pil[lt"T)
r , M u,ie amI rhclmic. I . ~ l u,k- GnlTlan>'- 1 71h <:en(ury - German Baroque Music 10
I'h ilo)oph), and Ilc.rhcr ics. J, )" ' u,ic _ G~n" an) - , .o.lh l"emuTy-
The Concept of the Affections in Gennan
Ph ilu'''phy aud ac~lhctk) . I, Ran el. Diclnch. Iialldblich der
mu,ik alhdlcn Fi~llTenkhr~ . II . T ille Baroque Music 29
Ml 3K-I9 1I1K9 t99~
Principles of Rhetoric in Gennan
7l!o .<}-I3 "l19031 - <.k2 t
97-1..\50 Ct~ Baroque Music 57

PARTTwQ

TREA Tl SES AND SOURCES

Joachim Burmeister 93
JohalUlcs Nucius 99
Joachim Thuringus 103
Athanasius Kircher 106
Elias Walther III
Chri stoph Bernhard I 12
Wolfgang Caspar Printz 119
Johann Georg Ahle 122
TomH Baltazar Janovka 125
Mauritius Johann Vogt 127
 Johann Gottfried Walther 13 I
INTRODUCTION
Johann Mattheson 136
Meinrad Spiess 144
Music has frequently been referred to as a uniwrsal language. As
Johann Adolf Scheibe 148 uni\'ersal as organized pitch and rhythm mi ght be. as common as some
Johann Nikolaus Forkel 156 musical intervals and rhythmic pattems are to all cultures and civiliza
tions. there are nonetheless a greal many "dialects" of this language
which not only distingui sh one civi lization from the next, but indeed
PART THREE distinguish different eras of the same culture from one another. The
music of the Baroque era is just such II dialect, growing out of the
DEFINITIONS AND TRANSLA nONS OF THE language of Renaissa nce music. yet with a contcnt fundamentally
distinct from the aesthetics and semantics of Enlightenment or Romantic
M US ICAL-RHETORJCAL FIGURES
musical cxpre ssion.
ThroughOlli tht: twentieth century musicians and musicologists alike
Definitions and Translations 167
have concerned themselves wilh deciphering and interpreting the
language of Baroque music. After generations of "en lightened" neglect
and '"romantic" miswlderstanding, it became evident thai object ive
A pPENDICES ins ight into the Baroque musical idiom could onl) be gained if its
grammar and its syntax- that is. its 0\\11 uniqll~ compositional precepls
Appendix I: Summary of Figure and principles- were rediscovered and appreciatcd. This interest in
Definitions 439 authentic Baroque performance practice has revolutionized the
Appendix 2: Summary of Figures interpretation of Baroque music. spa\\ning countless perf0n11ing groups
444 and artists who further the cause of Baroque authentici t), with Baroq\le
by Category
bows, gut strings, and va lveless hams. all tuned to appropriate Oaroque
Appendix 3: List of Figures
pitch. Likewise. in the discipline of musicology. a great deal of
by Author 448
scho larly energy has been invested into a myriad of historical and
Appendix 4: Sununary of Figures
theorctical questions. resulting in a focus of increasing attention on the
by Author 453 relationship between music and rhetoric during this period.
The call for a more systematic study of music and rhctoric,
specifica lly regarding lhe musical -rhetorical figures. initially was issued
by Schering in an article publi~hed Sh0l11y after the tum of the century.!
Bibliography 458 The seed thus planted brought forth abundant fruit in the following
gencntlion of primarily German musicologists. particularly in thc
Index 466
] Arnold Scherin&.. "Die lehre \'011 den 11iusikalisc\lI."n Figuren inl 17. und 18.
Jahrhundl'tt: K".chellmllsilcullsches Jahl'Ollcll 2] (1908): 106.
VIII Introduction Introduction IX

studies by Brandes, Unger, Gurlin, and Schmitz.2 In addition to these sive ly zealous in their appl ication of newly discovered approaches to
more general examinations of music, rhetoric, and the concepts of the "correct" musical interpretation, so too could mUSicologists distort the
musical-rhetorical fi gures as well as the affections, monographs on portrayal of hi storical developments through strained associations or
individual theorists and their treatises began to appear, including mi sconstrued conclusions.
significant studies of Bernhard, Bunlleisler, Nucius. Thuringus, and Nonetheless, the fact remains that numerous German Baroque
Mattheson.) Furthennore, in addi tion to fac simile editions of numerous authors described compositional devices which deviated fro m the
Baroque publications during this lime, a few treatises which had ordinary or regular manner of musical expression with term ino logy
remained in manuscript were made available in modem editions, either borrowed from the discipline of rhetoric or fonnulated to emulate
notably those of Bernhard and the early compositional treatises by J. O. such temlinology. Instead of matching a certain term with a singlc
Walther and J. Scheibe. As details of the various treatments of the definition (or vice versa) as Unger has attempted, a clearer understand-
musical-rhetorical fi gures were exposed, it became increasingly ing of a tenn can be attained by tracing its use and development through
apparent that a unified or systematic Baroque doctrine of musical the di verse Figllrenlehren. H. H. Eggebrecht , a student of Gurlitt and
figures-as presented by Schering or Unger--could not be endorsed. my mentor at Freiburg Uni versity, developed this methodology in
There were simply too many di sc repancies, contradictions in defini- Studien zlir musikalischen Terminologie (1968). Such a terminological
ti ons, and varied bases of the concept of the figure s to pennit such a approach to the subject avoids the pitfalls of the earlier systematic
generally vali d and unified teaching or "doctrine." Rather than one genera lizations regarding the Figurenlehre and sheds further light on
Figurenlehre, there appeared to be virtually as many Figurelliehrell as the growing relationship between rhetoric and music, as well as on
there were music theorists. Just as perform ing arti sts could be exces- steadily evolving artistic and aesthetic principles throughout Ihe
seventeenth and eighteenth centuries.
The rigorous application of rhetorical terminology and methodology
2. Heinz Brandes, Studiell : ur mllsiiealischell Figuren/ehre im 16. Jah rhUllder/ to musical analysis and composition remained a predominantly Gennan
(Berlin: Triltsch & Huth er, 1935); Halls-Heinrich Unger, Die Be: iehllngen :wischell Baroque phenomenon. While rhetorical principles influenced musical
Mllsik lind Rhetoriie im 16.-18. Jahrhtmdert (WOrzburg: Triltsch. 194 1; Hildesheim: composition in Italian, French. and Englisb circles, only in Gennany did
Olms. 1969); Willibaid Gurlin, "Musik lUld Rhetorik," Helicon 5 (1944): 67-86; Arnotd
Schmitz. Die 8i1dlichkeit in der lI'ol'fgebllndellen Mllsik J S. Bocm (Mainz: Schott, this develop into an enthusiastic adoption and adaptation of rhetorical
1950). terminology, methods, and structures. This resulted in a veritable
3. Helmut Federhofer, "Die Figurenlehre nach Christoph Bernhard und die musical rhetoric. a "local Gennan dialect" which fl ourished particularly
Dissonanzbehandlung in Werken von Heinrich SchOtz," ImenlOliona/er MusiKlI'issen
schajilicher Kongrep Bomberg (Kassd : Bltrenreiter, 1953), 132- 35; Martin Ruhnke, in the wri tings of Lutheran Kanlors. In tbe postsc ript to a reprinted
Joachim Burmeister Ein Beitrag :ur MlIsiie/ehre 11m 1600 (Kassel: Barenreiter, 1955); article which examines the fundamental differences hem/een Italian and
Fritz FeldmMII. " Das 'Opusculum Ripartitum' des Joachim Thuringus (1625) besonders German Baroque aesthetic principles, Eggebrecht acknowledges that the
in ~inen BezirillUlgen zu lob. Nucius (16 13)." Archi\'fiir MlIsikll'iSUnfchafi 15 ( 1958):
123-42: Hans Lenneberg, " Johann Mattheson on Affect and Rhetoric in Music," Journul fund amental criteria for determining these differences are to be
for Mllsic Theory 2 (1958): 47- 84. 193- 236: George 1. Buelow, "The /.oci topid and discovered in the unique and pervasive influences on Gennan musical
Affect in Late Baroque Music: Heinichen's Practical Demonstrat ion." Music Rel'lew 27
thOUght of the Protestant refonner Martin Luther.' At the very heart of
(1966): 161- 76.
4 . Johann Gottfried Walther, Praecepta der musicalischen composition, ed. Peter Baroque musical concepts in Protestant Gennany lies Luther's theology
Benary. Ms. t708 (Leipzig: Dreitkopf & Hlirtel. 1955); P. 8enary. Die dell/sch"
Kunrposi/iolls/ehre des 18. Jahrhlllllier/s (Leipzig: Brcitkopf & Hlirtel. 1961). which
includes Scheibe's early composition treatise Compendillm Muskes: losefM. MUller- 5. Hans Heinrich Eggebrecbt. "Dber Bachs geschichtlichen 011," Johunn Seba.ftimr
Bl attau. Die Kompositions/ehrl! Heillrlch Schiil:l!lIs ill ller f'asslmg seines Schii/us Bach (Wege der Forschung 170, Dannstadt: Wissenschafttiche Buchgesellschaft, 1970):
ChriSloph BemlUlrd (Kassel: BlI.renreiter. 1963). 247-89,
x Introduclion /lllrrx/ucliOI1

of music. which had significant influence on the development of as thi s remained the almost exclusive locus of the systematic develop-
Gemlan music throughout the sixteenth to eighteenth centuries. His ment of a "musical rhetoric ," including the musical-rhetorical figures.
theological understanding of music helps to explain the continued Occasionally it will be necessary to provide some background inf0n11a-
Ge rman acceptance of Ihe scientific-mathematical significance of tion to these various developments and concepts. In such cases, it is the
medie val music theory, the didactic rather than purely aesthetic legacy of the historical background \vhich will be of chief interest,
intention of music , the increased importance of the rational accessibility rather than a thorough presentation of the historical developments
to the musical craft. and the heightened significance of the rhetorical leading up to the Baroque period. It should be remembered that in
discipline, including the concepts of the affections and the musical- seventeenth-century Gennany Cicero and Uoethius were still being read,
rhetorical figures. albeit at times in modified or amended versions. rendering these and
The present study explores the framework, origins, and develop- othcr "ancient" sources authoritative and therefore "contemporary" to
ment of the concept of musical-rhetorical figures .6 By examining the thc 13aroque student.
commonalities and differences between the various Figllrenlehren in Considering the centrality of Luther's theological views on music
their di vergent contexts, we are able to trace the development not only to this subject, the study begins w ith a brief summary of Luther's
of the concept but also of Baroque musical thought. It will be observed theology of music. While this short chapter is not intended to present an
that the concept of the musical-rhetorical figures grew out of a desire to exhaustive discussion of Luther's views on music but serves primarily
identify and deline with rhetorical tenninology those expressive musical as a foundation for the following material. it is fundamental to the
devices which deviated from conventional compositional nonns, that the Gemmn concept of lIlusica poetica, and thus deserves its own. separate
musical-rhetorical concept developed into a spec ific means of represent- albeit brief presentation. This is followed by a chapter on IIll/sica
ing and arousing the afTections, and that toward the end of the Baroque poetica, the uniquely Gennan discipline of Baroque music which seeks
era, an age in which such systematic and objec tive principles contra- to combine medieval music theory with Lutheran theology, inspired by
dicted the increasing emphasis on "enlightened" individualistic and Renai ssance humanistic thought and seventeenth-century rationa li sm.
subjective musical expression, such a concept would experience its The concept of the affections, which is central to the musical-rhetorical
inevitable decline. Frequently these developments will be observed in figures and has been associated with both music and rhetoric since
the various definitions of a single musical-rhetorical term, antiquity, constitutes the subject matter of the third chapter. The fourth
Part 1 of this study seeks to present not only the necessary back- chapter concerns itself with rhetoric, predominantly in its application to
grotu1d to the concept of the musical-rhetorical figures but can serve as Baroque musical composition.
an introduction to Gennan Baroque music theory in general, focusing Part 2 introduces the various Figllrenlehren as presented in
Oil Luther's theology of music, the development of the Gennan Baroque seventeenth- and eighteenthcentury treatises and publications. After a
concept and discipline of mllsica poetica, the concept of the affections cursory biographical sketch, each author's interpretation and classifica-
in German Baroque music , and the application of the principles and tion of the figures is di scussed. The diverse descriptions and categoriza-
devices o f rhetoric in compositional theory and practice. Regarding the tions resulted in some figures being classified as simple ornaments
chapters on musica poetica, the affections, and rhetoric, the discussion (Monieren.figllrae simplices) by some \\Titers and as musical rhetorical
focuses chiefly on developments in Germany during the Baroque period, figures by others. For this reason, Figllrenlehren such as those of Printz,
and the discussion of ornamental embellishments by authors such as
Vogt, Walther, Mattheson, and Spiess, are also included, but a cOlllpre-
6. Parts 2 and 3 of this study are based on the author's dissenation completed at the
Alb(!/"{,I./ldll'ig.{- U"iwrsitiit, Freiburg im Breisgau ( 1982). published as Handbuch der
m1l.~ikalische" Figurenlehre (Laaber: Laaber Verlag, 1985).
XII Introduction lnlroollclr'on xi ii

hensivc terminological study of the relevam tenus is not attempted. 7 ogy. will facilitate further work in the use of the figures by specific
In pan 3 the various authors' deftnitions of the musical-rhetorical composers.
figures are presented alphabetically with their original text \\;Ih parallel Each discussion of a figure begins with a swnmarizing definition,
English translations. accompanied by a discussion of the Icnn's origin followed by a terminological explication . Wherever applicable, the
and development. Regarding the orgaruzation of this section, an tenn ' s literal meaning. rhetorical content, and musical applicati on.
alphabelicailisting of the figures was considered the most appropriate interpretation, and development are discussed. Because indi vidua l
and convenient method for a number of reasons: flfSt. any other method authors are amply discussed in part 2 and all the musical definitions arc
of listing the figures (for example by category) would make looking up listed with their translations, it was not considered necessary to
figures rather awkward. especially since there aTC many references to recapitulate each author's understanding of the figure but rather to
individual figures in parts I and 2 ofthe text. as well as mmlerOliS cross- concentrate on matters concerning the linguistic and musical origins and
references in part 3 itself; second. it renders part 3 most accessible as an development of the term. The musical definitions of a figure arc
independent reference resource; third. it preserves the methodology of preceded by rhetorical deftnitions of the respective tenn whenewr
a tenninological study in which the tenn rather than its content is the possible, represented among others by c lassica l (Quint ilian). Renais-
detennining criterium, a methodo logy which allows for a revised and sance (primarily Susenbrotus), and Baroque (Gottsched) sources. nle
corrected Wlderstanding of the Figllrefllehre itself; finally. related to the musical definitions of each term are presented in chronological order.
last point, it avoids numerous figures needing to be pilleed in more than occasionally including definitions taken from sources other than a
one category owing to frequent multiple meanings o f the same term. recognized Figurenlehre (e.g., Praetorius, Herbst). The source of a
Included in the appendices is a swnmary of the ligures by category definition is indicated in parentheses following the name of the author
wh ich groups the fi gures in various classifications, thereby aiding through an abbreviation of the treatise and the appropriate page number.
rellders who wish to discover groupings of related fi gures. when possible. Should the treatise only be available in a modem edition.
While further examples in addition to those found in the sources as in Bernhard's treatises' or Walther's Praecepta, the page numbers of
which would demonstrate the use of a figure in various Baroque the modem edition are used. All translations were prepared by my se lf~
compositions would have added interest to this study, this was consid- at times in consultation with previous translations. While the English
ered infeasible for a nwnber of reasons: first , as a tenninological study, translations remain relatively literal, the inclusion of the original texts
the interest of the present text lies in exploring the origin. development, pennits certain liberties which facilitate a more fluent translation. The
and understanding of a term rather than the content which the term musical examples fOWld in the treatises are occasionally omitted, such
names or describes; second, the fact that a single term often receives as when the examples in various treaLi ses coincide or when an author
multiple definitions would lead to an unwieldy study far exceeding the includes numerous simi lar examples. In addition to the musical-
intended compass of this volwne; third. there presently exist numerous rhetorica l figw-es. the ornamental embellishments (/igllrae simplices or
studies which explore the use of musical-rhetorical figures by specific Mauieren) which are included in the treati ses of the various authors
composers or in specific compositions: finally. it is my hope that this have also been incorporated. However, rather than discussing these
present study, having contributed toward the clarification of the diverse embellishments comprehensively, they are considered only to the extent
understanding and deve lopment of musical-rhetorica l figure tenninol- of their inclusion in the relevant treatises. 9

7. For a thorough discunion of such ernbellishiug devi ces. the reader is referred to 8. til the case of BffTlhard's treatises, the page numbers refer to the Millier-BI:lll:lU
studies such as Frederick Neumann'S Omaml'ntmion in Baroque (SlId l' OSI-BoroqUI! (1963) edition.
Ml/s l C (Princeton; Princeton Universiry Press, 1978. 1983). 9 . For an exhaustive sludy of such ornaments, see NeullIaun. Ornamentation.
 Introduction llt/rOC/llcl iOIl xv

The four appendices at the conclusion of this text provide various and rhetoric and advised me in this present study: to Prof. Evan Kreider.
summaries and overviews of the musical-rhetorical fi gures, beginning Uniwrsity of Brit ish Col umbia. who encouraged and advised me
with a li sting of the figures in alphabetical order accompanied by a short throughout thi s proj ect ; and above all. to my wife . Jocelyn. without
definition, fo llowed by a listing of the figure s according to seven \\ hose support. advice. proofreading. but most of all patience and
categories: figures of melodic repetition, figure s of hannonic repetition understand ing. this projec t would not have seen completion.
(including fuga l figures), figure s of representation, figures of dissonance
and di spl acement, figure s of silence, figures of ornamentation, and
miscellaneous figures. 10 As the classification of the fi gures varied
widely in the seventeenth- and eighteenth-centuries, no modem attempt
at cl assi fi cation can be considered defmitive. Rather, the present
categorizal ion of the figure s is meant both to assist in determining or
locating related figure s and to provide a tool with which more expedi-
ently to match a certain musical-compositional device or phenomenon
with a specific ternl or figure. For this reason, the tenns which were
cross-referenced in part 3 and in appendix 1 are listed here along side
the term under which the fi gure was defined in part 3. It is al so in thi s
appendix that the ornamental , "non-rhetorical " figurae simplices or
Mal1ierel1 call be most easily di scerned. Appendices 3 and 4 provide
summaries of the figure s by author, appendix 3 li sting the authors
alphabetically and the figure s defined or mentioned in their respective
treatises in the order of their original appearance, and appendix 4 listing
the figure s alphabetically followed by the authors who define or
mention them.
I would like to express my appreciation and gratitude to a few of the
individuals who have encouraged and helped me throughout this entire
project: to Prof. H. H. Eggebrecht, Albert-Ludwigs-Universitdl, Freiburg
i. Br., Gennany, who directed me toward this area of research and
patiently advised and guided me in my original doctoral studies and
re search; to Prof. Rolf Dammann, Albert-Llldwigs-Universitdt, who
inspired me to "think theologically" about Gcnnan Baroque music ; to
Dr. Traugott Schachtele, who spent countless hours with me in Freiburg
over Latin translations; to Prof. Gregory Butler. University of Brit ish
Coilmlbia, Vancouver, Canada, who introduced me to the area of music

10 . These categories are an adaptation of the classifi cations found in George

Buelow's article. " Rhetori c and Music." Nell' Grme DicliOl1ury 0/ M usic ond Mus icions.
ed. Stontey Sadie (London: Macmillan. 1980). IS: 793803.
PART ONE

INTRODUCTION TO THE CONCEPTS

LUTHER ON MusIC:
A THEOLOGICAL BASIS FOR
GERMAN BAROQ UE MUSIC
For muslc ;s Q gift and largesse a/ God, nO( a hllman gift, Praise through word and
nIlisie is u sermon in l Olli/d. ... In Sllnrma, nexl 10 the Word a/God, Ihe noMe ort of
music is 'he gre(J(('sllreaSlire in Ihis lI'orld Martin Luth~

M artin Luther" s outspoken comments on music are as legendary as

they are colorful. Luther presented his fl edgling churc h with
much more than a random collection of passing thoughts on musical
issues. Rather, in his ,witings one is confron ted by a theology of music
which not only outshines the musical musings of other church refonners
but indeed, during the centuries that followed, provided Protestant
musicians and music theorists alike with a fundamentally theocentric
philosophy of music.

M US IC, A DI VINE G IFT

Luther's views on music differed substantially from those held by his

humanistically inclined contemporaries. including those of t\'IO other
notable refonners, Jean Calvin and Ulrich Zwingli. Rather than viewing
music as a primarily human innovation, Luther believed music to be
essentially a divine gift to humanity, second only to the Word of God or
theology. This divine origin of music established God as the author and
source of the natura l phenomenon of sound. including the world of
tones. Speculative musical theory based on the nwnerical proportions
of musica l intervals did not become irrelevant conjecture, as it did for
the more humanistically minded, but rather was gennane to lUlderstaod-
iog music 's divinely ordained power. 'Illis belief proposed that the very
essence of God is revealed in and through the musical proportions.
Through music the invisible becomes audible. The divine essence of
music was underscored again and aga in by Luther in his numerous
4 Luthel' on Music Luther on Music ,
writings. In his foreword to Georg Rhau's Syn/phoniae (1538), Luther melody, while three, four, or five other voices play and trip lustily
wrote : "1 truly desire that all Christians would love and regard as worthy around the voice that sings its simple melody and adorn this simple
the lovely gift of music, which is a precious, worthy, and cosIly treasure melody wonderfully with artistic musical effects. thus reminding us of
given mankind by God . ... In summa, next to the Word of God. the a heavenly dance, where all meet in a spirit of friendliness, caress, and
noble art of music is the greatest treasure in Ihis w orld."l Ln an unfin- embrace .... A person who gives this some thought and yet does not
ished essay on music (1541), he stated : "For music is a gjft and largesse regard it as a marvellous creation of God, must be a clodhopper indeed
of God. not a hwnan gift . ... After theology I accord to music the high- and does not deserve to be called a human being; he should be pennitted
est place and the greatest honour."l Not surprisingly, Luther regarded to hear nothing but the braying of asses and the gnmting of hogs.'"
music as the most significant of the four mathematical disciplines of the
seven liberal arts. Writing to Ludwig Senfl (1530). Luther maintained :
" For this very reason the prophets cultivated no art so much as music in MUSIC: ITs EFFECT
that they attached their theology not to geometry. nor to arithmetic, nor
to astronomy, but to music. speaking the truth through psalms and Luther continued to embrace the concept of music 's affective and
hymns." ) TItroughout the Baroque, Lutheran writers continued to fonnative power, based ultimately on a Christian interpretation of the
emphasize this speculative aspect of music theory. reinforcing rather Greek ethos teachings. The order of natural sound as defined through
than rejecting its metaphysical relevance. the mathematical proportions of the intervals was present from the
Along with music per se. the disc ipline of musical composition was moment of Creation and is thereby an attribute of the Creator. To further
also viewed as a divine gift. Unlike his humanistic colleagues. Luther support both this "orderly" explanation of Creation and the phenomenon
was not willing to abstract the art from the material. Both music and its of music, most Lutheran music treatises of the sixteenth through the
associated discipline were God-given gifts. In the preface to the eighteenth centuries continued to quote a passage of scripture taken
Geistliches Gesangbilchieill (1524). Luther \\Tote: " I desire that all arts, from the Apocryphal book, the Wisdom of Solomon (ch.ll.20): " But
particularly music, be employed in the service of Him who has given thou hast ordered all things by measure and number and weight. " The
and created them. I pray, therefore. that every pious Chri stian ... if God act of hearing music, of listening to ordered sound, is to resonate with
has endowed him with the necessary talents and ability, help further the Creation, of which the individual is a part. When the human ear
cause .'14 It is therefore most appropriate that Luther prai se the fine perceives the various musical harmonies, it involuntarily recognizes the
compositions of musicians such as Georg Rhau: " However. when man' s reality oftbe Creator's work. The human desire to participate in musical
natural musical ability is whetted and polished to the extent that it activity is not, therefore, so much a need for self-expression, as the
becomes an art. then do we note with great surprise the great and perfect humanists would have it, as it is a longing for and a reflection of a
wi sdom of God in music. which is. after all. I-li s product and His gift ; relationship with the Creator. This recognition also has affective and
we marvel when we hear music in which one voice sings a simple fonnative power on the human mind and body. Luther's views on music
reflect Augustine's synthesis of Greek music theory with Christian
dogma: music not only mirrors the order of the created universe through
1. This and the following translated Luther quotations are taken from Walter
Buszin. Lllther on Mus/c, ed. J. Riedel. Pamphlet Series No.3 (Saint Paul : Lutheran its own numerical order but can positively affect individuals by audibly
Society for Worship. Music and the Arts, 1958). The essay first appeared in M llsicut ''putting them in touch" with the greater order of Creation. The order o r
QUGner /y 32 (1946).
2. Cited in Buszin, L II/her (}If M IISIC, I I.
3. Ibid .. 7.
4. Ibid., 10. 5. Ibid., 6.
6 I.u/her on All/sic /, /lthel' 0/1 MII.fie 7

"music" through which God created the universe thus becomes a means expressed his concern over the musical education of youth, particularly
of spiritual growth. Music becomes a theological statement which regarding the eternal parental an.xiety over their instinctive musical
allows it to be used in the struggle against melancholy, depression, and preferences: "The music is arranged in lour part s. I desire thi s particu
powers of darkness. References to the metaphysical power of music are larly in the interest orthe young people , who shoul d and must receive
frequently encoWltered in Luther's writings. In the preface to a an education in music as well as in the other arts if we are to wean them
collection of part songs (1538), he wrote: "To you, my dear )'OlUlg man, away from carnal and lasc ivious songs and interest them in what is good
I conunend this noble. wholesome. and joyful creation. through which and wholesome. Only thus will they learn. as they should, to love and
the feelings of your heart may at times be helped, espec ially when appreciate what is intrinsically good. "10 Again from his letter to Senfl:
withstanding shameful lusts and bad company.'>6 And from his unfin- " It is necessary indeed that music be taught in the schools. A teacher
ished essay concerning music: "Music drives away the devil and makes must be able to sing; otherwise I will not as much as look at hi m. Also,
people happy; it induces one to forget all wrath, unchastity, arrogance, we should not ordain young men into the mini stry unless they have
and other vices.'" In one of his table talks, he claimed that "Satan is become well acquainted with music in the schools . . . . We should
very hostile to [music]. since it casts out many scruples and evil always make it a point to habituate youth to enjoy the art of music . for
thoughts. The devil does not remain near it, for music is one of the finest it produces fine and skillful people." !! Thus music was to become an
of all arts .... Music drives away the spirit of sadness. Music is a integra l part of the Lutheran Lateinscllllle curri culum. In his Leiter to
taskmistress which makes people milder and more gentle, more civil and the Aldermen al1d Cities of Germany 10 Erect alld Maimain Christian
more sensible."a Luther had little patience for those individuals who did Schools o f 1524, Luther wrote: "Since youth must skip about and leap,
not appreciate thi s power of music: ;'lbose who are not moved by this or at least do something that affords pleasure. and since it would
[contrapuntal music 1are. indeed, unmusical and deserve only to hear certainly not do to forbid this enti rely. oUght we nOI to furnish schools
some dWlghill poet or the music of swine.'>9 in which we could teach youth such art? ... If I had children and wou ld
be able to carry it out. I would insist that they study not only the
languages and history, but also singing music and all of mathematics."]2
MusIC: A PEDAGOGICAL TOOL Not only music "and all of [the other] mathematics," but also the
linguistic subjects were regarded as integral to the curriculum of the
In assigning music the preeminent position as theology's handmaid, Lutheran Lateillschllfe. The new Lutheran emphasis on preachi ng the
with its role of praising God and edifying humanity, Luther also gave Word in worship services further encouraged the widespread " rediscov.
music a didactic purpose. Rather than being a hwnan invention ery" of the rhetorical discipline . Rheloric was given a very specific task:
deve loped for the purposes of entertainment. recreation, and self- the preacher was to use the persuasive art o f oration to admonish and
expression, God's gift of music could impart divine truth both to those edifY hi s congregation. Luther maintained Ihat preaching a lso occurs
who heard il and to those who perfonned or studied it. Youth in specifically through music, particularly when music is combined with
particular were to be trained in the musical discipline, Luther repeatedly a sacred text. A musical composi lion could thus become a "sennon in
pointed out. In the preface to the Geistfiches Gesangbiichlein Luther

6. Ibid., S.
7. Ibid .. II. 10, Ibid .. 10.
8. Ibid . 13. 11. lbid .. 8.
9. Ibid .. S. 12. Ibid .. 14.
8 Llllher on Music Luth~,. on "{usrr: 9

sound."l l Music could pl ay both an indirect and a direct role in this means necessary to convince his listeners. The use ofrhelorical devices
process. First, it could move the listener to a receptive state for the and structures in music was one of these methods. Both its structuring
spoken word: "(Music I can engender a calm and willing heart. making steps and divisions as well as the expressive devices used in rhetoric
it receptive for God 's Word and Truth.,,1. Furthermore, music could were adopted by the Lutheran musicians in order to make them better
lend the associated text a greater measure of emphasis and potency. "preachers." Specifically the musicahhetorical figures became not
While a spoken text might be understood intellectually. its text and simply unconventional or decorative musical phenomena, but rather
affection could be expressed more emphatically through the addition of musical devices which were developed to lend the composition a greater
music. The musical expression of the text and the associated affection measure of exegeticaJ capacity. The role of Lutheran music was clearly
became the dominating concern for the following generations of pedagogical, seeking to teach and edify. With both music and rhetoric
Lutheran musicians and composers. Luther had given them the mandate accorded such prominent and related status in the Lateinschlile
not only to express the text and affections in the ir compositions, but to curriculum, the path for their inevitable interrelationship was cleared.
explain and expound on the meaning and significance of the words. He Although the new Italian musical idioms and sty les were to be adopted
encouraged musicians to ensure that ';all the notes and melodies center by Lutheran musicians, these were always to be used primarily to
on the text."l! In fact, in a proper musical setting, "the music will bring explain and express the meaning and sense of the text, not just to imitate
the text to life."16 Music is therefore not just a passive reflection of the its affection.
text but a tire less advocate of the text. In summary, through his continued adherence to the holi stic
In the Latin prefac e to the Funeral Chorales (1542), Luther also medieval concept of music and his simultaneous emphasis on music 's
maintained that "the addition of the singing voice (to the text] results in practical application, Luther prepared the way for a synthesis between
song, which is the voice of the affections. For just as the spoken word mllSica specliialiva and musica practica, ultimately leading to the
is understood intellechl8lly, it is affectively perceived through song.,,17 uniquely German musica poetica. Through his concern over the
Both the heart and the mind were to be targeted by the composer. The education of youth coupled with his colleague Melanchthon's classical,
affections were to be portrayed and aroused by the Lutheran composer humanistic interests, a curriculum for the new Lutheran Laleinschllien
not primarily to delight the audience, or 10 faithfully renect and re~ was to be established which would emphasize both the mathematical
present the text. but rather, quite simply, to preach the Chri stian Gospel. and the linguistic Latin disciplines. Through his emphasis on the
Herein lies one of the significant differences between Italian and importance of music as well as the spoken (and preached) Word, Luther
Protestant German Baroque music. Like the sermon, the musical stimulated the integration of the rhetorical and musical disciplines. And
composition was the " living voice of the Gospel," the viva vox through his theological reinforcement of the traditi onal ethical view of
evallgelii. ll And like the preacher, the composer was to use any artistic music, Luther encouraged the combination of a musico-theological
ethos with the concept of the affections based on the speculative science
of the numerical proportions of the musical intervals.
i3 . "DIIS laudare verbo el musica isl cine sonOrA praediclltio." Oskar S6hngert,
Theo/ogie der Mus ik (Kassel: Johannes Slauda Verlag. 1967), 95.
i4. ibid., 96.
15. "Die Musica soli ' aUe ihre NOlen IUld Gesllnge auf den Text ri chten ...' Ibid" 95.
Significantly, th is qu ote is also found in Michael Praetorius' s S)"~la8m a musiCllm /.
16. "Die Noten machen den Text lebendig." Ibid . 97.
17. "Sed vocem addendo fit canlUs. que vox est affect us. Sicul ergo verbum est
jnlellectus, sic vox ipsills afi"eclUs." Ibid .. 96.
IS. Ibid., 97.
 Toward Afllsicu Poefico II

THE CLASSICAL LEGACY

TOWARD MUSICA POET/CA:
The Roman philosopher and mathematician Ooetruus (480--524)
THE EMERGENCE OF A furni shed the link between Greco-Roman and medieval music theory,
GERMAN BAROQUE MUSIC an d remained inlluential well into the Baroque era. Through rus work
the Pythagorean concept of music as a mathematical discipline became
Muska I'oe(ica is thai discipline oj music which leaches how to compose a mllSical entrenched in medieval scholastic thought. establishing the primacy of
COmPOSifion. .. in order /0 sway (he hearts and spirits of indi~'iduals info vanous tbe speculative science over the sensuously perceivable art of music
dispruifions. Joachim Bunneister (1606)
making. The musical discipline was subdivided into three orders:
Music is a heavenly-philosophical and specifically mathematical science, which fIIusica mill/dana, fllllsica hUll/ana, and mlfsica illsrrumentalis. In all
concerns i/Self wilh fOlies, with the in/ent to produce an agreeable and artful HarmollY three categories Lhe relationship between a microcosmic reflection of a
or consonallce. Johann Gottfried Walther (1708)
macrocosmic reality becomes evident. The highest order of music,
Mllsic is the science and art wisely 10 alTange proper and agreeable sounds in a correct IIIl1sica nUll/dana (music of the spheres), deals with the "harmonic" and
manner. O/Id to execute fhem pleasingly, in order fO josfer God 's glary and all virtlle orderly motion of the stars and planets. the alternation of the seasons,
fhrol/gh Iheir consono/ fce. Johann Mattheson (1739)
and the organization of the elements. It is essentially a rational explana-
tion of the macrocosm, presented through numerical proportions. The

T wo themes consistently receiving attention in German Baroque

music treatises are music's speculative mathematical foundation
and its intended edifying effect. Johann Gottfried Walther, J. S. Bach's
next order of music, fill/sica humana (music of the hwnan body and
spirit), concerns itself with the "harmonic" relationship between the
body and the soul, uniting the two in certain numerical proportions
cousin, friend, and colleague in Weimar, introduces his compositional which are influenced by and reflective of the macrocosmie order of
treatise with the above definition of music which highlights both of mllsica mundOI/O. As such, the human body represents a microcosm of
these points. Although Walther's Italian contemporaries had abandoned the larger order. Both are governed by the same numerical proportions
the concept of music as a mathematical science, the understanding of and relationships. The third and lowest order of music, musica
music as a "heavenly-philosophical and specifically mathematical" l instrllmelllalis, deals with the physical properties of sound and focuses
discipline remained prevalent in Lutheran Germany throughout most of on the numerical proportions of the musical intervals. The audible
the Baroque. While the philosophical basis for such an understanding intervals are detennmed by the same proportions which govern musica
is founded on the Lutheran theocentric philosophy of music, the mlmdalla and nil/sica I/llmal/O. In this order the numerical proportions
historical basis for this phenomenon is rooted in classical and medieval become audibly perceptible through the physical application of the
concepts of music, influenced by Renaissance hwnanism and the revival mathematical principles. The distinguishing feature between the two
of the linguistic and rhetorical disciplines. In order to gain a clearer and higher orders and the applied order lies in the fact that the former exist
more thorough understanding of Gennan Baroque music, it will be a priori while the latter is the result of human fabrication, using either
necessary to explore these classical and renaissance influences. musical instruments or the human voice. Medieval scholasticism placed
much more confidence in intellectual ratio than in the emotional and
consequently fallible senslls. Ii is therefore mathematical ratio which
I. "Die Music ist eine himrnlisch-philosophische. und sonderlich aufMathesin sich was always to correct aural sensus. With mathematical proportions
grtindente Wipenschaft. welche umgehet mit dem Sono. so fern aus selbigen eine gute
und kUnstl. Hannonie oder Zusanunenstimmung hervor zubringen: J. G. Walther, detennined through ratio, the music theorist (mlfsiclfs) was considered
Praecepta. 13. superior to the practical musician or composer (calltor). Mllsica
12 T OW Ql'd A{I/sica Poe/iea Toward Alusica Poetica 13

instrumelltalis was regarded as a rational exercise rather than a creati ve string SOlmds a C. then one of the two portions would produce a c. the
or expressive act. with the instruments merely being touls which note one octaw higher than the original note. resulting in the octave
al lowed scientific observation and practical application. proportion I :2. Octaves can therefore also be calculated by factoring by
Throughout the Middle Ages music was accorded a place alongside 2: the note c 1 (an be represented by the relationship 1:4. the note c } by
its sister mathematical disciplines, arithmetic . geometry, and astronomy, I :8. etc. The fifth is created by d ividing the string into three equal
these four subj ects making up the quadrivillm of the seven liberal arts. portions. One of these portions produces the note g, a twelfth higher
Consequently the instructor of this subject, the /IIusic /ls . was a mathe- than the originnl C. resulting in the relationship I :3. Fifths can therefore
matics pro fe ssor on the quadrivium faculty. The cra ft of musical be calculated by fac toring by 3. To arrive at the proportion o f the fifth ,
composition had no place in thi s speCUlative co ncept of mllSica. The the munbers represeming c (I :2) and g ( I :3) are jUJ.;taposed, resulting in
linguistic subjects of the trivium incorporated the other three liberal arts: the proport ion 2:3. The interval o f the fourth with its proportion 3:4 is
grammar, di alectic. and rhetoric. It was as a member of the trivil/m deri,'ed by jux taposing the nwnbers representing g ( I :3) and c I ( I :4). To
fa culty that the practical musician, the callfor. found his pl ace. Applied arrive at the next fi ft h. d }, the g (1 :3) must again be di vided into thirds,
music was considered a craft dealing with elocution or deli very. and was resulting in the relationship I :9. To calculate the proportion o f a whole
therefore more akin to rhetori c than to mathematics. In addition to tone. the Illunbcrs representing c} and d J are j uxtaposed, resulting in the
directing school or church choirs and teaching the nldiments of music, proport ion 8:9. Through combining the calculations of fifths and
the cantor was also frequently called upon to teach other subjects of the octaves, all m usical intervals can thus be given a specific numerical
trivium, especially Latin and Rhetori c. Thi s connection was to stand the proporti on , based on the number representing the desired new note
Lutheran Kantor in good stead as rhetorical principles and methods jux taposed against the appropriate octave of the original note. To
became adopted by the musical discipline. While the lingui stic disci establish the proportions of a major third, two further divisions by 3 o f
plines were regarded as inferior or "trivial" next to the quadrivial the note d 1 are required, resulting in the interval C-e ' having the
subjects in the medieval ordering of the seven liberal arts. this ranking relat ionship I :8 1, and c '-e J generating the proportion 64 :81 . Through.
was to change with the dawn of the Renaissance . Rhetoric and poetry out the fifte enth and sixteenth centuries, major and minor thirds were
rather than mathes is would increasingly be regarded as music 's "sister increasingly regarded as consonances. calling the validity of their hi gh
discipline." Gradually it was the composer who was to be regarded as proportions and thus their implied dissonance into question. Renai s-
the true musicus poeticlIs, albeit with a redefined mandate. sance music theori sts were to demonstrate that in fact an e 1 could be
generated on the monochord with the relati onship I :5, resulting in the
consonan t proportion 4:5 for the major third c l -e I, while 5:6 (e I _ g ' )
NUMERlCAL PROPORTIONS OF TIlE I NTERVALS was shown to produce the minor third.2 With this justificati on, it
becomes apparelll that sensus rather than only ratio was being called
The numerical proportions o f the various intervals can be audibly and upon to delen nine dissonance and consonance. The medieval distrust o f
visually demonstrated through the use of the monochord, a single
stringed instrument with a moveable bridge. lbis instmment became the
" laboratory" of the musical science, the tool of musica jnstrllmentalis.
2. TIlis " new" proportion of the major third (4:5 - 64:80) is indeed very close to
Given the continued significance of these princi ples in German Baroque the ~1hagoreltll propon ion 64:81 . Being now so much closer to the unison, it could be
music theory, the intervallic proportions will be explained in more defined as a consonrulcc instead ofa dissonance. The difference between these two thi rds
(80:8 1) was considered eq ual to one comma. Nine commata mltke up one whole tone
detail. The first and simplest interval , the octave, is produced by
(8:9 '" 72:8 1: 81 72 ,. 9 ). with a major semilone consisting of 5 commata and a minor
dividing the monochord string into two equal portions. If the original semilone consisling of 4. See also Apotomia in part 3, below.
14 Toward Musica PQlt/C(l Toward Alusica Poe/iea 15

4
the senses was being gradually modified by a new Renai ssance "human- sili!.nili cance 10 the various intervallic proportions. While the numeral
ized" orientation. In summary : I ;eprescnts God the Father. 2 represents the Son. being onc with the
Father yet di stiJl(:I ..iust as the two notes spanning an octave are the same
Unison: (C) \ :1 Minor Third: (e '_g I ) 5:6 \ ct d istinct ~umer<l l 3, the fifth, represents the Holy Spirit, making up
Octave: (C- ) 1:2 Major Sixth: (g-< ' ) 3:5 ~he T rini t' . It is embraced by the octave ( 1:2 ==: Father:Son) and equals
Fifth: (c-g) 2:3 Minor Sixth : (e '-c 1 ) 5:8 its slim. Numera l -l is called an angelic or heaycnly number, representing
Fourth: (g- c I) 3:4 Whole Tone: (C 1-(/ 1 ) 8:9 the angel s who fu lfi ll the will of God. As the "cosmic" number, it also
Major Thi rd: (c l-il') 4:5 Semitone: (b l---c: I) 15:16 represents the to ur elements, seasons. and temperaments. Furthermore,
the fo UJ1h (3:-1 ) unites the Trinity ( 1:2:3) with the triad (4 :5:6). Numeral
5 reprcsel1l s hum:mity. the human having fi ve senses and fi ve append-
I NTERV ALLiC PROPORTIONS AND ages l h ~'nd . feel. and aons). And on ly when placed within the Divine
THEOLOGICAL SYMBOLISM context. that is between the fifth (4 :5: 6: 4:6 = 2:3) does humanity find
fuHi llmcnt. llle mi nor third (5 :6) remains forl om on its own without the
In the cosmo-theological understanding of the musical discipline, the Di\inc rete rence point, 4 . The nwneral 7 does not appear in the propor-
relationship between the musical intervals and their divine origin did not tions. for it is a "mysterious" and "holy" number. It "rests" as God
remain vague speculation but was thoroughly explored by Gennan re sted on the Sabba th, the seventh day of creati on.
Baroque music theorists. The unison, with its proportion 1:1, was
considered the starting point of all music, much like the point of a line
in geometry. It remained only a small step to make the connection CO SMOLOGI CAL MUSICAL CONCEPTS
between the perfection of the unison and the perfection of God, the
"starting point" of creation.} For music, the mirror of the cosmos, has a The speculative and expressive components of the musical discipline
perfect origin like the universe itself, with the unison standing above wcrc brought into a balanced equi librium in Lutheran musical thought
consonance or dissonance. From this "point" the perfect and imperfect during the Renai ssance and Baroque eras. Fundamental to thi s concept
consonances are derived. The intervals were ranked according to their of music is the assumption that God created all things accord ing to the
proportions by the following principle: the closer a proportion is to the orderly principles of measure. number, and weight. This order becomes
unison (i.e., the lower the numerals), the more consonant it will be. It is the u lld e rJ~ ing prim:iple and governing force behind every clement o f
not surprising that in such a cosmological understanding of the intervals, creation. II reneets the image o f God and provides the "conunon denomi-
numerology played a significant role. Thc composer and theorist nator" bel\\ een God and the various elements of the universe, including
Andreas Werckm eister went to some length to ascribe theological both it s macrocosmic and microcosmic components. God is thereby
ren ectcd in both the universal macrocosm and the human mic rocosm.
TIle samc cosmological relationships which exist between God and his
cre ation are also \0 be fo und between the three musical orders. While
3. " Denn wie die Unitlit von sich seiber ist f und von keiner Zald den Anfang hat
I sondem der Anfang aller Numerorum seiber ist I und kein Ende hat . Also ist Gott ei n
the un i\'crsailllllsica nlundana is perceived as a macrocosmic reflection
ein tziges Wesen von Ewiglr.:eil f der Anfang ohne Anfang I und Fortgang aller Dinge I
depen Wesen und Kraft sich in Ewlgkeit erstred:et / lll\d kein Ende hat" Andrea.!
Wercluncister, MI/sicofirche Porado:l.ol-Discoune (Quedlinburg. 1107), 92. "Oou selbst
ist die Unitllt." 1. 1-1. Buttstett. m: ioU. SOL, 24, cited in Rolf Dammann, Der Musikbegriif -I Andreas " Von der Za.hten geheimen De utung," Afusicolische
\\' crc lo;lll~i Sler,
im deutschen Harock (Laaber: Luber Verlag, 1984). 38. Parado.w{-lh~(,OIIr.H (O ucdl inburg. 1101). 92ff.
16 Toward Muska Poe/iea Toward }'frlsica Poe/iea 17

of tile Divine Creator, musica hlllnana reflects God in the microcosmic an ethical force, influencing the individual through its refle ction of the
hwnan fonn , both of these musical manifestations being speculative and dh'ine Creator. "Is it not marvelous to recognize that music find s its
inaudible. Furthcnnore, hwnankind can use the divinely o rdained origin in God, and that as His image, we can hannonize with God! "1
natural Jaws to bring the nwnerical proportions to SOWld through mlls ica FlIflhennore . not only does music present an ind ividual with his own
instrllmemaiis. Music thereby becomes an audible manifestation of the li\...eness. "(namely that he is hannonically created). but God is al so
Divine, reflecting the creative mathematical principles which lie at the reminded of His own divine wi sdom, providing Him with pleasure.'"
heart of the universe as well as the proportions and relationships of the For this reason the human endeavor of music-making is a delight both
hwnan mind, body, and spirit. to God and humankind.
In addition to being a passive reflection of divine and universa l Just as /III/s ica praclica serves to praise God and edify the listener,
numerical principles, music is also an active agent, affecting specifically so too do the speculations o f mllsica theoretica serve to glorify God.
the human spirit and body. This is accomplished through the audible LUlher's fami liar quote, "next to Theology, I give music the highest
expression of the numerical proportions which music has in common place." is nol an empty statement in simple praise of music. Rather, it
with the macrocosm and ultimately with God. " For the same musical POiIllS to the importance of the speculative discipline of musica theo-
proportions constitute the human soul and body, as we have heard. refica in uncovering and explaining the mysteries of the Wliverse. The
When a person perceives these proportions through sounding tones, his very role of music was to make arithmeti c audible and could not
likeness is thereby correspondingly held before him, providi.ng him with therefore be simply a speculative exercise. Of this Leibnitz writes in
pleasure."! When the divine essence is audibly reali zed, the human 1712: 'Music is a hidden arithmetical exercise which 'counts off' (se
being will naturally and involuntarily resonate accordingly, analogous IIl1merare) subconsciously in the soul.'J'} In music ' s mathematical order,
to the principle of sympathetic vibrations: " For it cannot be olherw ise, the order of creation is revealed, manifesting God's wisdom and creative
than that an individual's temperament is moved and controlled through power. In the words of Werckmeister: "Nothing of the natural order can
well-written music. For an individual is both inwardly and outward ly, be di scO\ered in music unJess ratio, that is arithmetica and mathesis
spiritually and physically a divinely created hannonic being . . . . fir st po int out the right way."IO Again Werckmeister: " We call that
Because he is a musical blueprint (a veritable fonnula of music), the naruml which can be comprehended by sense and ratio ... in accordance
individual will naturally find pleasure when hi s own likeness is pre- with God's creation and ordering o f all things."II
sented to him tlu'Ough the musical proportions.'>6 Music thereby acts as

dahin gebrachl hiinen I und ihm die Proportione! harmonicas, welche von Gon geordnet
I gezeiget h31101." Puradwol-DisCOllrs~, 25.
5. 'Camaeh hat aueh der Mensch die Gleichheil der Musicalisehen Proponionen 7. "1st das nun nicht rill gropesl dall wir willen wie die Music ihrem Uhrtprung a ilS
in seiner Seele I und lIuperlichen Gliedem I wie wir geh6ret haben I wann nun der Goo habe f wld dal} wi! als Ebcnbilde Gottes I mit Gott hannoniren kl:\nnen." Ibid., 28.
Mensch solche dureh die Sonos vemimmt I so wird ihm dadurch ebenmlissig sein Eben- 8. 'Denn du rch die Music wird dem Menschen nicht allein scin Ebenbild (neml.
Slid vorgeslellet I an weichert er sich belustigen kan." Werckmeister, Paradoxa/, dap er harmonisch zubereitet sey) vorge regt; sondem es wird auch Gott seine gottl.
Discourse, 25. Weipheit \"orgehalten, darinnen Er sich belustigel." Walther, Praecepla, 14.
6. 'Und C5 kann aueh nicht anders seyn, als dap Gem Uth des Mcnsehen durch cine 9. Musica est exercitiulIl arithmeticae OCCUItUIll neseientis se numerare animi:'
wohlgesetzte Music mup regieret und bewegel werden. Denn ein Mensch ist so wohl Leibnitz. in a letter to mathematician Goldbach, cited in Danunann, Musikbegriff, 79.
inner!. als liuperlich, gdst- und leibl. ein von Gott erschafTenes harmonisches Wesen. 10. Es kann aber in Musicis nictus natUrliches geschlossen und erkandt werden,
... Weil nun der Mensch ein rechtes formular der Music ist, so belustigct er sich wo nichl ralio. das ist Arithmetica und Mathesis vorher den rechten Weg zeigeten:'
freylich, wenn ihm sein Ebenbild durch musicaiische Proponiones vorgestellel wird: ' Cited in Eggebrecht, "Ober Baehs geschichtlichcn Ort,"' 266.
Walther, PraeceplO, 75. Similarly Werckmeister: Wenn nun ein wohlgesi nneter II. Wir nennen dasjenige natUrlich I was ullsere Sinne und Vemunffi begreifen
Mensch eine Music hOret I so empfindet sein Gemlithe zwar die U cblichkeit I so den konnen . .. wie Gott aile Dinge in der Welt geschalTen und gcordnet hat." Andreas
Seh/jpfer georOOet J aber er wei p doch nieht die Uhrsache I wo iiln nichl die Zahlen Werckmeister. Mllsicae malhemOficae Hodegus clfrio.flU (FrankfurtlLeipzig, 1686), 12.
18 Toward Musica Poe/ieD Toward MI/5;ca Poe/ic(I 19

CHANGING PRJORITIES OF SPECULATIVE AND of rnusi(' to legitimately include its practical application. Thus Machau!
PRACTICAL MUSIC THEORY (Quid already declare: "And music is a science. whose purpose is to
make pcopk laugh and sing and dance.,,12 The changing perception of
The purely speculative Boetman concept of music slowly began to lose the arts and transformed concept of science "humanized" the theory of
its dominating position at the dawn of the Renaissance. With the music. \\hile simultaneously "rationalizing" the craft of composition.
growing concern regarding musical notation and the craft of musical
composition, a new categorization of music was introduced which gave
greater prominence to matters concerning humanly conceived music . In THE RI SE OF MUSICA POETICA
his Tetrachordum musicae (1490) Adam von Fulda, an influential
Renaissance music theorist from Wittenberg, redefined musica Throughout the fifteenlh and sixteenth cennlries. the cosmological focus
instrumentalis while retaining the categories of musica mundana and of IlIl1sica reyealed in the numerological abstractions of mllsica
musica humana as two subcategories of musica naturalis. He listed as flleol'efica shifted to an anthropological fOCli S revealed in the rhetorical
the laner's cowuerpart musica artijicialis, under which he reintroduced powers of IlIl1Sica poetica. This paralleled the Renaissance shift in
mllsica instrumentafis and added musica vocalis. l1lUS musica emphasis from the mathematical quadrivium to the linguistic trivium. In
instrllmentalis graduated from the lowest manifestation of musica to one italy, this change was accomplished at the dawn of the Baroque era. The
of two categories of musica artijicialis or "skillfully crafted music," musical composition was thus perceived aesthetically rather than
itself now at least on par with musica natllralis. Besides incorporating speculathely. Music itself had become the language. While Italian
the structuring of intervals and modes, musica artijiciafis also included Renaissance and Baroque writers tended to adhere to the bipartite
the various notational and compositional precepts. Throughout the divisions of music i11l0 mllsica theoretica (natura!is, speculativa) and
Italian Renaissance the speculative science of music gradually lost /Ill/sica practica (artijicialis), some German Lutheran writers began to
ground to the more practical craft of musical composition. The two promote a third category, mllsica poelica. Thi s order of music combined
speculative orders of music, musica mundana and musica humana, were the established tmlhs of mllsica theoretica with the heightened Renais
subsumed into one musical category, musica theoretica or naturalis, sallce concept of the composer as artist, who is called upon to reveal the
resulting in a bipartite division of the musical discipline into a theoreti meaning oflhe text in and through his music. The speculative medieval
cal and a practical category. In addition, the concept of science itself tradition was not cast off but rather redefined in the Lutheran north. In
underwent a change during this period, increasingly referring to the reaction to the grO\\ ing scepticism of medieval speculative music theory
realization of a concept rather than just the concept itself. A science was Adam Yon Fulda exclaimed: "The unfortunates ! They do not seem to
to be functional rather than purely speculative . It was to be applicable kn ow that Bocthius said in the XXXIII chapter of the first book of his
and pertinent to the individual in order to be relevant. The underlying lnstitutione: 'id mllsicus est, qui ratiolle perpensa' (the musician is one
reasons for this change are to be found in the very essence of the who measures by reason)."lJ It was only few years later that Nicolaus
Renaissance world view. The human began to replace the Divine as both Listenius introduced the tenn nil/sica poetica as a genre of musical
object and subject of the disciplines. To legitimize this shift in emphasis,
the sciences were "humanized" while, at the same time, the arts were
given greater credence through scientific explanations and justifications.
Ftuthennore, the linguistic disciplines of the trivium, with their empha
12 . Cited in Palll Henry Lang, Mllsic ill /Yes/em Cil'iliza/ioll (New York: Norton,
sis on human communication, became increasingly prominent. This 19.\1).162 .
pennitted those theorists who chose to continue emphasizing the science 13. lbid .. 60.
20 TOli'ard Afusica Poetico TOlYard Mus ica Pootica 21

composition,I4 In 1563 the lenn was first used as a title for a anchored Protestant view of music. Intellectual understanding recog-
compositional treatise by Gallus Dressler. 1$ establi shing it as a descrip- nized order in Nature (arithmetic proportions). a natural order which the
tion of both a genre and a di sciplLne. By 1600 a systematic use of musical composition was to reflect. Ratio was to be used to discern the
rhetorical principles and terminology, including the concept of musi ca l~ power of music, to structure musical compositions, and ultimately to
rhetorical figures. had been established in the 1Illls ica poelica discipline control the affections of the listeners. Even the untrained ear would
through the writings of Joachim Bunneister. 10 This emphasis on persua- recognize the beauty of properly composed Illusic, for when " truth" is
sive communication was incorporated by expanding mllsica practica experienced, it is recognized as such. Conversely, music wruch did not
into two subcategories: the traditional ars caIJrfls. focusing on the conform to the natural laws would confuse the ear and would be
execution of a composition, and the new mllsica porica, focusing on recognized as chaotic. The further the proportions strayed from the
text-expressive composition . While some German theorists, such as J. uni son (i.e .. from God), the more di ssonant they would become, the
G. Walther, induded ",,,sica poelica as a subcategory o f m"sica prac- infi nite being considered reprehensible and confused. I'
fica, thereby retaining the Italian bipartite classification, others, such as The Baroque discipline of music attempted to understand and
Andreas Herbst, defmed it as an independent musical category. In either control nature and its hannonic system through thi s objective ratio nal -
case, the theoretically informed composer was now given the highest ism. encouraging the taming of nature as did Baroque gardening,
ranking as the true lII"sicIIS poeticlIs, replacing the medieval nlllsiclIS- painting, and architecture. Nature itself was to be controlled and
theorist. Werckmeister's explanations of the roles of theorist and hamessed to become what it was destined to have bcen. Artistic devices,
practitioner clearly point to the superiority of one who has mastered whether in gardening or in music, were to be employed to "correct"
both disciplines. While the theorist only knows the rules but cannot nature herself. particularly those aspects of nature where the uncon-
practically apply them (by playing or composing) and while the practi- trolled had run amuck. Hwnankind, ,'lith its higher rationalist insight,
tioner can compose or play according to the rules but cannot compre- could faci litate this. The result would be ultimate truth, the very core of
hend or explain them . the ideal musician is expert in both areas. n nature. 111us htullan artful and rational improvements, reprojectcd upon
The concept of divine order remained all important to the Gemlan nature, could illuminate the true essence of nature, realizing in the end
Baroque musi cian, reflecting the increasing Significance of natural that which thc Creator had originally intended according to "measure
rationalism in the context o f the cosmologically and theologically and number and weight." It is in this light that the Baroque concept of
the affecti ons and the musical-rhetorical structures, with their mandate
to arouse and portray the passions, can best be understood and ex-
plai ned. For j ust as nature could be tamed, so too could the human
14 . Nicolaus Listeniu5. Rlldimellla mllsicae pltmae (W itlen~rg. t533). MI/s ica
poe/ica predates the introduct ion of the term mllsica re.fe /1.'ata (first used by Coclico, temperament s and passions be controlled through orderly and craftfully
CamJnndilim nUlsiees. 1552) alld becomes Inuch more widespread alld significant. fashioned arti stic devices. ultimately leading to a rhetorical and affective
particularly in German circles.
15. Gallus Dressler. i'raecep lo musicae poe/icae (Magdeburg. 1563). musica poefica.
16. Joachim Burmeister. Hyponmemolllm muskae poe/icat ( ROSIOCk, 1599);
Musica poe/iea (Roslock. t606).
17. "Ein Theomicus kan die Natur der proportioncn oder dercr FOl1schreitung wohl 18. " ... so sind es l1umen. wetche ill keine kleine Zahlen k6nnen gebracht werden
gribldlich beschreiben l und gute rat iones davon geben I es kan IIber demselben an der l und bekommet der Vmtand des Menschen gleichsam ein Grauen vor so1chen grossen
invention der ZusammenSetZ\Ulg \Uld mll.nirlichcn modulation fchlen; Ein PrllcticliS aber Zahlen I weil sie nicht k6nnm ~griffen und verstanden werden I darum heiset es hie
kan aus den Regeln ' welche ein TheoretiClis vo rgeschrieben I die manier und modula- auch wohl natura ab infinitis abhorret." Werckmeister, Cribrum mllsicllm oder
tion auf allemand Arth verllndem I jedoch weip er keine rlltiones von seiner erbauten ""I.'iica/ischt$ Sieh (Quedlinburg und Leipzig. 1700). 7r. Also Werckmeister. Musicae
Iill.nnonia 7.Ilgcben .... Jedoch ist c:s umb so \'iel hesser I wen n jemand ein Thc:orelicus "'a/hen/mica('. 13 11lis rational naturalism. heightened to !II dogma during this period.
und Practicus zugleich seyn ken." Werckmeister. Mllsic(le nw/hematicae. 10. was considered un naluraltoward the end oflhe Baroque eta.
22 Toward MUJico Poe/lea Toward /il1I.f ica Poel ica 23

MUSICA POETICA, AN EXPRESSION OF ing and teaching the Christian message through music also encouraged
TEXT AND AFFECTION a German adoption of those styles of music which were limited to the
theater in Italy. For it was the text-expressive SlY/lIS ,hearralis, including
The objectives of mllsica poetica were summarized by Walther as . recilativlIS.. which could depict and explain the text most
the s(III,S
follows: "Musica Poetica or musical composition is a mathematical effectively. lllis style of music also made the best use of the many text-
science through which an agreeable and correct harmony of the notes is exprcssi\ e and affection-arousing device s which paralleled the rhetori-
brought to paper in order that it might later be sung or played, thereby cal fi gures of speech and thought. The mandate to express and explain
appropriately moving the li steners to Godly devotion as well as to please the 1e.xl encouraged not only the development orthe concept of musical-
and delight both mind and soul , , ' , It is so called because the composer rhetorical figures but also led to the introduction of a musical inve"'io,
must not only understand language as does the poet in order not to disposilio, and e/ocutio, along with the associated rhetorical methods
violate the meter ofthe text but because he also writes poetry, namely and dc\'ices. Musica poe/ica thus adopted literary and rhetorical con-
a melody. thus deserving the title Melopoeta or Meiopoew,,,19 As this cepts and language to describe and define its own mandate, The descrip-
definition points out, musica poerica is essentially vocal music in which tion of a composition and its expressive musical devices in such rhetori-
the "music-poet" was to present the text in a Klang-rede or musical cal tenus first emerged in Gennan circles during the sixteenth century,
oration. In order ultimately to move the listener to greater Godly parallel to the establishment of Lutheran Protestantism. Throughout the
devotion, music was to express both the text and its associated affec- sewnteenth and eighteenth centuries, mllsica poetica then gradually
tions, two mandates which were either implied or emphasized in most embraced virtually all of rhetonc's principles and procedures,
musica poetica treatises. Luther had already established text expression While the focus of the musical-rhetorical figures was initially on the
as one of music 's primary purposes: music is most powerful when lext. the expression of the affections through the figures gradually
united with the Gospel, for in combining the Word with music, God 's gained prominence, eventually repl acing the text' s dominating role, In
two most powerful gifts to hwnanity are forged into one invincible the introduction to the musical-rhetorical figures in his Musica Poetica,
force. l o While the text convinces the intellect, the music persuades the Bunneisler assured the student that " the text itself will present the rules"
passions. Furthermore, music was to be used both to express and to for Iheir application. u In hi s list of figures Burmeisler included such
explain the text. Just as the sermon is the "living voice of the Gospel," devices as hypotyposis, used to express the text in a realistic and life-
so too is music to "bring the text to life,,,ll Luther's interest in present- like manner, andpathopoeia, which was most suitable for expressi.ng the
text and creating the assoc iated affection. Johalm Nucius listed over
forty words to be musically expressed al the end of his chapter dealing
19. " Mush:a Poetica, oder die musicalische Composition ist eine mathematische with the musical-rhetorical figure s. l ) The same list also appeared in
Wil}enschaffl, verm6ge welcher mall cine Iiebl. und reine ZU5ammenstimrnung der Andrea s Herbst's treatise. N Adopted from Nucius were the "affective
Sonorum aufsetzct und zu Papier bringet, dal} wlche nachmahls kann gesungen oder
gnpielet werden, den Menschen fUmemlich zu eifriger Andacht gegen Gott dadurch words" (\'erba aJlecfllllm) : rejoicing, weeping, fearing, wailing, moum-
zubewegen, lUld dann ouch das GeMr und GemOth del}elben zu ergetzen und zu
\'ergnllgen , . , wird sie genennct deswegen, weil ein Componist nicht a1lein die Prosodie
so wohl als ein Poet verstehen mul}, damit er nicht wieder die qU8fltitaet der Sylben IS ul1 mi~taka bly reminISCent of the rhetori cal figure of speech, hYPOl)posis, See
verstol}e; sondem auch, wei! er ebenfalls etwa$ dichtet, nem!. eine Melodey, von H.~P()/J1}OSis in part 3. below.
wetcher er auch genetUlet wird Metopoera oder MeJopoeus." ProeceptQ , 75 . 22. See p.97, n. IO, betow.
20. S6hngen, Theofogie der Musik, 91 fI. 23. Johannes Nucius, Musicu poetieae sil'e de compositione COn/liS (Niesse, 1613),
21 . " Die rechte Predigt ist \ ';\'0 vox I!mngefii ( '" lebendige Stimme des Evan 03'.
geJiwns), lUld auch die reciJte Music is \'i,'o \'0.\' nYlnge1ii: 'Die Noten mochen den TVrI 2.1 Johann Andreas Herbst, MI/siea poe/iea s;"e compendium melopoelicum
lebendig ' (Tischreden Nr,2545b)," Ibid., 97, The referen ce to "bringing the text to life" (Niimberg. 1643), Ill.
24 TOU'Ufd MI/sictl f'oet/C(I Toward A{usiCQ Poe/ iea 25

ing. p leadi ng. raging. laughi ng. pitying: "words of mot ion and place": tions. gradually giving way to the emerging Enlightenment mandate to
standing, nmning. dancing. resting. leaping. lining. lowering. ascend ing. express an individual 's sentiments.
descending. hea\'en, hell. mountain. abyss. heights. etc.: "adverbs of
time and number": quickly. fa st, soon. slowly. early, late. l\vice. thri ce,
four times, again, once more. often. rarely: and other words such as A CHANGING MUSICAL AESTHETIC
light, day, night. darkness. Herbst also included words describing human
states : childhood, youth. o ld age: and human mores: haughty. humble. TIle 1I"",erlls-oriented concept of seventeenth-century Gennan Baroque
contemptuous, inferior. odious. By the end o f the century. Dani el Speer music underwent a fundamental transfonnation during the foll owing
would almost double Nuc iu s's li st ofwords, H A simi lar albeit much century. In music. as in all other artistic di scipl ines. the equilibrium
shorter Ji st was presented by Demhard in hi s introd uction to the fi gures between sellSIlS and ratio wroch the Renaissance had established would
used in the styills rheatralis. a sty le most close ly linked to the expression be upset in the eighteenth centill)'. In a Ze itgeist which sought to
of the text. 26 Kircher repeated ly stressed affection and text expression detennine aesthetic principles o n the basi s of empirically discemed
both in his introductory comments and definitions of the fi gures. shifting personal experience, the influential role o f the speculative perceptio n of
the emphasis of the musical-rhetorical fi gures from an elaborative 10 an music wa s increasingly called into question. The first indications o f this
expressive concept. The text was to bc depic ted and made present and change can be traced back to the sixteenth-century reevaluation of the
alive through the music. Thi s concept of vividly expressing the " idea" legiti macy of the third as a consonance. Whi le thi s modem approach
of the text through the music was al so underscored by Mauritiu s Vogt. detennined the concept of music at the begiruting of the Italian Baroque,
who called his expressive musical-rhetorical fi gures ji'gl/rae ideales. resulting in an early rejection of an aesthetic based on numerus, the
Like Nudus and Thuringus before him, Vogt encouraged the composer mathematical-theologically oriented tmderstanding of music in Lutheran
to emulate the painter. "placing the beautiful or frightful images life-like Gemla0Y held its own into the ei ghteenth century. Writing at the cl ose
before the eyes of the li steners through the IllUSiC ."21 Johann Allie's of the seventeenth century, Wolfgang Caspar Printz still pointed to the
discussion of the musical fi gures was based entirely on the literary authority of ratio over sensus : "Although we have two judges in music,
fi gures. The composer was to reflect musically not only the sy llables. ratio or the intellect and senslls or the ear, it is imperative that while
accents, and caesurae but al so the rhetorical fi gures which were fOWld they should agree. ratio retains the upper hand and does not allow the
in the text. The natural expression of the text was also underscored by ear the freedom to j udge independently, unless it is absolutely unavoid-
Mattheson. who devoted a number of chapters of his Der vollkommelle able. For if the ear is given the upper hand and is allowed the freed om
Capellmeister to this maller. However, with Mattheson, and especially to judge independently, then absolute ly nothing could be verified with
Scheibe and Forkel. the centrality of a text gave way to general affective certainty in music.,,21 Not only is this musical ratio still rooted in
expression, equally important and possible in purely instrumental music. speculative mathematics, but so is its calculable effect, a point which
By the early eighteenth century. IIIIISico poetico's emphasis o n text Johann Kuhnau emphasized a few years later: "Music belongs among
expression was superseded by the call to portray and arouse the aiTec-

28. "Wir baben zwar in der Music zween Ri chter I Rlllionem. die Vemunfft l und
Audilum. das Oehlke I jedoch dergeslall l dap beyde mil einander i1bereintrelTen l und
25. Vier/aches nlUJikali.fches Kleebla/t (Ulm. 1697).283. Nucius's and Speer's lists doch Ralio die Ober-Hand behalle I und dem Geh6re niemahls die Freyheil gonne allein
are ciled in Hans-Hei nrich Unger. Die BI'=iehllngen =wiJchen Mlis/k lind Rhe/or!k 1m zu judiciren f es erfordere es dann eine unumbglingliche Nothwendigkeit. Denn wenn
16.-18. Jahrhllllrfl'rt(WOrzburg: Tri ttsch. 1941 ), 38. S~e Hypot)'posis for Speer's list. das GeMr die Ober-Hand und die Freyheil allein zujudiciren haben solIe I so wOrde
26. See p. 116. below. See also H)1}Q/yposis. man in Musicls ganlZ nichts Gewisses schliessen kimnen." Wolfgang Caspar Prinlz.
27. Se~ p.128. 0.89. I>1:low. Phr)mis !I(l lIle"llelis. odl'r Saf}Tischer Componist (DTesden/Leipzig, 1696). pl.3. R4 .
26 Toward Musica Poetica 1'Qwa,'li Mllsica Poe/lea 27

the mathematical sciences and is therefore axiomatic.'029 However, vance of music theory. the mathematical explanation of music became
Kuhnau 's illustrious student Johann David Heinichen was of quite a subser,ieo! to the empirical realm of natural experience. TIti s reorienta
different mind on this matter. As if arguing directly against Printz (and ti on placed a subjC(:tive and individualistic slant on musical interpreta
all others who shared Printz's views including his own teacher) Heim- tion. consequently preparing the way for the eighteenthcentury
chen stated: "Musicians of the past, we know, chose t\vo judges in Empfil1dsamkeit aesthetic. Objectivity gave way to subjectivity, mathe
music: Reason and the Ear .... It wrongly classed the two judges and matics to nature. science to expression, and the Baroque to the EnJight
placed the Ear, the sovereign of music, below the rank of Reason .... enmcn!.
[Prescnt-day musicians) return to the oppressed Ear the sovereignty of [n summary. throughout the seventeenth century, general musical
its realm; ... but othe['\vise, (if] Reason differs in opinion, it must serve thought in Lutheran Gennany continued to revolve around theocentric,
Ithe Ear J with complete obedience and employ all of its skill, not for the malhematical sc ientific concepts inherited from medieval music theory.
visual appearance on paper, but to give the Ear the sati sfaction of an llo\\e\'er, influenced by Renai ssance thought and Lutheran theology,
absolute ruler. ")O Walther's earlier definition of musica poelica as a sign ifi ca nt revisions of the purely speculative perception of music
"mathematical science" (Praecepta) was also noticeably revised in hi s resulted in a "humanized" understanding of the discipline. The human
Lexicon: "Musica Poetica . .. the name given to musical composition, senslls hecame as important as ratio in determining music's effects,
or the art [!] of inventing melodies and arranging consonances with illustrated by the admittance of the third as a musical consonance. The
d isso nances.")) The changing concept of music in Gennany was un purpose of music as an efTective as well as affective means of communi-
equivocally and explicitly emphasized by Mattheson, who went to cation made the practical di scipline of composition more prominent than
considerable length to discredit the speculativemathematical concept its theoretical counterpart. But instead of dismissing the speculative
of music: "I am therefore basically still of the same opinion, ... namely acoustica l science of music as irrelevant. German writers sought to
that not a grain of musical substance can be found in arithmetic .... It incorporate Lutheran theology and Boethian mathematics into the
is Nature which produces sound, including all the as yet undiscovered flouri shi ng understanding of music as a humani stic art form. With the
proportions .... Mathematics is like a pen, and the notes the ink, but growing Renaissance and Lutheran emphasis on the trivium, linguistic
Nature must do the writing .... Mathematics is only a human art; but and rhetorical concepts became significant elements of musical compo
Nature is a Divine power."Jl While still accepting a theological rele sit ion. resulting in a uniquely Gemlan /II"sica poelica. The Lutheran
emphasis on exegesis of the Word coupl ed with the Renaissance
emphasis o n the linguistic disciplines resulted in a concept of music
29. " Die Music gehiirel Wlter die Mathematischen Wissc:nsdtaften Wld hat folgend-
lich unfehlbare Demonstrationes." Johann Kuhnau, Musieaiisehe Von/ellung einiger which elevated the expression o f the text and its associated affections
lJiblisener Historien (Leipzig, 1700; new ed. K. Stone, New York: Broude, 1953), xi.
30. Ci ted in George Buelow, Thorough-Ross Aeeompallimem according /0 Johann
Dodd Heiniehen, revised ed. (Ann Arbor: liMl Research Press. 1986), 278f.
31. "Musica Poetica .. . also heisset die eigenllich also genannle musi calische Ktangcn lind W6rtem .... Denn die Seele. als tin Geist. wird empfindlich geriihret.
Composition , oder die Kunst. Melodien zu erfinden, und die con- und dissonirende Wodurch? wahrlich ni cht durch die Kllinge an und fUr sich. noeh dUTCh ihre Gr6sse.
KIl!nge mit einander zu vemuschen." Johann Gottfried Walther, Musieafischu Lexicon Gestalt lmd Figur allein; sondem haupts!khlich dureh deren gesehickte. immer
(Leipzig, J 732). neucrsonnene. Wid unersehClpOiche Zusallum~nfilgwlg .... leh bin also im Grunde noch
32. "Der Satz: Dall die Mathematik bey der Musik nichts helffe, ist unrichtig, und eben der l'"le)~lwl g .. . dap nchmlieh in der Rechenkullst keill Schein des musikalischen
bcdruff' einer guten Er!liuten.Ulg .. . dall die Mathematik der Musik Hen und Seele sey; F undamc!lls steckel ... . Die Natur bringt den Klang. mid aile ~eine. aueh die grosseslen
dall aile GemUths- Verl1nderungen. so durch Singen Wld Klingen hervorgebracht werden, Theil, nodI lUlbekannte Verhilitnisse her\.'or . . . . Mathesis ist die Feder. Klange sind die
bloll in den verschiedenen liusserli chen Verh1ihnissen der TOne ihren Grund haben, Dinte: aber die Natllr nlUp der Schreiber seyn . ... Mathesis ist eine menschlich Kunst;
solches ist noch viellirger und irriger, als obiger Ausspruch .... Des Hmens BewegWlg Natur aher eine GOnliehe Krafft." Matt heson. VO/'/"dt'.ljer rolli()mmClle Capellmeis/er
hat derlUlach ihren Gn.Uld. d.i. we Ursache, ihren Urspnmg nirnmermehr in den blossen (Harnburg. 1739). 16- 22 .
28 Toward J.fw;ica l'oelica

above all else. Although few authors went to quite the same length as
Werckmeister in order to establish the relationsh ips between theology, THE CONCEPT OF THE AFFECTIONS IN
science, and art, the synthesis of these disciplines was a central element
of musica poelica. It was now the art of composition rather than the GERMAN BAROQUE MUSIC
discipline of musica which had become the mathematical science. Most
11 11<'1'<'<1.\' ,,1/ v/lIlIIsie 's pleasanlness groll'S chiefly 0111 olhe/' ability to mm'e heart and
authors of Gennan music treatises were established and prominent
W,n/ Johann Andreas Herbst ( 1643)
musicians, holding positions as either Lutheran organists or Kaflfors , not
simply theorists contemplating musical mysteries in ivory towers. It was Thl! coml'U-Il!r alH'u)'J ol/glll 10 work IOwards aehie~'illg Ihe imeJl(/l!d affection ill Iml
C OlllpOSIllOIl Mauritius Vogl ( 1719)
the mllsicus poeticllS, the theoretically infonned composer and pcr-
fonner, who was now regarded as the ultimate musician. He was to use /11 SIIPPllPltII:1 i'1'el1'thing Ihal OCClirs without 'ifJeelions. means nOlhing. does nothing. I/ml
all available resources to portray and arouse the appropriate affect ions, 1.1 1I o/'Ih I/O/hili!:! Johann Matthesoll ( 1739)
including the various rhetorical procedures and devices. With all the
theological, rhetorical, and musical tools at his disposal, the melo-
poeticus could move the affections of the listener at will, ultimately to
the glory of God and to the edification of the listener. S ince antiquity the concept of the affections has been associated with
both mus ic and rhetoric. While music's power ovcr the human
emoti ons was never denied throughout the medieval or Renaissance
Musica poetica remained a unique concept of music, one which
sought to balance science and art, ratio and sensus, speculation and eras. the p0l1rayai and arousal of the affections became the intended
craft. Its primary purpose was rooted in moving the listener through purpose. indeed, the very essence ofaJl Baroque music. Werckmeistcr
affective text interpretation and through a musical representation of the asserted Ihat music "is ordered to arouse, correct, alter, and calm the
cosmic order. The compositional emphasis of musica poetica solved the passions."i At the height ofGennan musical rhetoric, Johann Mattheson
dilemma of focusing on the text while retaining the speculati ve nature claimed that "the goal of all melody is none other than a gratification of
of musica theoretica by assimilating the principles of rhetoric and the ear through which the affections of the sou l are aroused."] Meinrad
mathematics. TItis synthesis of science and art not only laid the ground- Spiess said of the affections: "to arouse and to still the same is music' s
work for the rational approach to the concept of the affections, subject one and only goal.") While the various Baroque styles and traditions
matter which until then had remained in the domain of the trivium throughout Europe shared tillS general concept of affective music. the
discipline of rhetoric, but allowed the inclusion of the concept of the speciticaUy Gennan view was based on an attempt to rationally wlder-
temperaments, subject matter which was traditionally part of the medical stand and explain the underlying physiological phenomena , coupled
di scipline. Medieval cosmology, Protestant theology, and rhetorical with the singular interest in the structuring principles furnished by the
artistry all combined to this end. Throughout the eighteenth century the
governing mathematically oriented concept of music was called into
question, resuJting in the eventual replacement of numerus with natura. I. Andreas Werckmeister, Musicalisehes Send-Schreiben (Quedlinbu rg, 1700). I!
2 "Weil in7wischen das rechle Ziel aller Melodie nichts anders sevn kan als cine
While affective and rhetorical principles became increasingly influential
sok he Vergniigul1g des Gehors, dadurch die Leidenschaffien der Seete rege werden,"
in musical construction, the speculative understanding of music lost its Mattheson, Capel/meister, 207, 31. In 30, Matthewn speaks of the difference between
predominant position, preparing the way for the dawn of Empfind- ~'ocaJ and instrumental music, pointing out that although words become superfluous,

samkeit. Instrumental music cannot dispense with the expression orthe affections.
3, 'Leidenschaften. AffeclUs. Bey denen Menschen zu enegen, oder zu stillcn. ist
der l\fusic cin7iges ZihL" Meinrad Spiess. True/alliS mlisiclis "omposiluria-pruclh'lIs
(AlIgsburg. 17-15); cited in Dammann, Musikbegriff, 215 .
30 Th~ Concep/ oflhe AjJtCliOlls The Con"ept ofthe Affections 31

rhetorical discipline in order to fulfill the mandate of musica poetica. M USIC AND THE AFFECTIONS
Gennan music theorists and composers were of one mind regarding
the centrality of expressing the affections but were less unanimous The original Greek tenn. pathos, was understood as an ailment or
regarding specific methods of expressing them . As Buelow has pointed malady resulting in a passive condition orthe person. The Latin transla-
o ut, the assumption frequently encountered in modem music scho lar- tion of pa/llos. offiCI/IS. is rooted in the verb adficere, meaning to work
ship-that there existed a certain Doctrine of the Affections or Aflekten- upon. lnfluem;e, affect.' Both Plato and Aristotle wert concerned about
lehre-becomes untenable when one examines the many Baroque the power of music and its influence on the hwuan spirit, leading them
source s.~ Virtually every writer admonished the composer to examine to suggest specific uses of certain kinds of music based on the ethos of
the text wh ich was to be set to music for affective words or implied the specilk Greek modes. Quintilian, whose InstilWio oratoria became
affections. Many writers ascribed certain affective qualities to the the 1110st influential classical rhetorical source in the Renaissance, called
various church modes, although few agreed on specific details. Others for music that "excites generous feelings and calms disordered pas-
suggested that certain affections might be portrayed through specifi c sions."7 The Stoics retained the early Greek negative view of the
dance genres, types of rhythm, or literary fonns. The generally accepted affections. regarding them as wmaturaL Desiring an impassioned stance
affective nature of the various intervals also led some \\'fiters to suggest or condition. Stoicism demanded complete mastery over the passions.
certa in interval combinations for representing affections. While all of Both lerm s, pms io and af/ectlls, were lIsed by early Christian writers,
these suggestions were no doubt legitimate methods of expressing the including Augustine. Here the concept of the affections was expanded
affections, particularly for those writers who were suggesting them, a to include both constructive and destructive passions, including human
ge nerally valid doctrine or Lehre cannot be discerned. What can be virtues and sins. The ethical and healing power of music was promul
established, however, is the general principle of expressing the affec- gated in Ill usic treatises throughout the Middle Ages and into the
tions. The primary goal of Baroque music is defined by the composer's Baroque era. l3iblical stories describing music's power were added to
intent to objectively present a rationalized emotional state referred to as the traditi onal classical myths, thereby blending Christian and Greco-
an affection, as diverse as this process Illay have been. This principle or Roman mu sical val ues.
concept of the affections is rooted in the rhetorical discipline, which was With the increasing importance oflhe linguistic disciplines in the
becoming increasingly influential, particularly in Gennan compositional Renaissance and the simultaneous "huruani z.t1tion' of musical thought ,
theory. The concepts of rhetoric and the affections were eventually to a new emphasis on text expression began to replace the c1assical-
center on the musical-rhetorical figures , which were referred to as "the medieval significance of speculative music. A long list of Renai ssance
vel)' language of the affections."s In order to elucidate this high calling writers advocated the musical expression of the affections discerned in
o f musical-rhetoric , it will be necessary first to discuss the concept of a compos ition's text. As Zarlino pointed out, the primary concern
the affections, focusing primarily on general principles rather than on
specific methods of their expression.
6. Bolh "affcction and '"affect" have been used in English scholarship. "Affect "
underscures the imponance of the concept in German music theory (Gemlan: AjJllct),
while al the Slime linte distancing Ihis concept of ratiolllllizC'd emotional slates from Ihe
4 . George Buelow, "Johann Mattheson and the invention of the AjJekumlehrl," New modern meaning of 'affection." However. recent scholarshi p has tended to favor the
Malrheson Stl/dies . ed. G. J. Buelow and H. J. Marx (Cambridge: Canlbridge Uni versity Engli sh tcrm "affection," II usage which is adopted in this book.
Press, 1983).393. 7. 11I51rl/ll/0 oratoria (De ml/sica). i. 11 : ciled in Claude Palisca, "Ut Oratoria
5. Kann man woht olinI,' sie die Gemllthsbewegungcn e~en und ausdriickm? Muska: TIIC' Rhetorical Basis of Musical Mannerism: nl(.' MeUllillR of Mannerism. ed.
Keinesweges. Die Figuren sind ja setbst eine Sprache der AR'eaen:' Johann Adolf F. Robinson and S. Nichols 1r. ( Hanover 1'111: Uni versity Press of New England. 1972).
Scheibe. fJer eril isehe Musiells (Leipzig, 1745). 683. 39.
32 n,l' Concepl oJfhe AffecliOlIS The COT/Cepl ofthe AffeCliQlIs 33

should be direCled towards a proper and appropriate setting of the THE AFF ECTIONS AND THE NUMERUS
words. "so that everything may be done with proportion:'R Through
correct text declamatioll and sensitive text expression. words and music The mow toward a greater affective musica l expressiveness did not
were to be brought into a balanced equilibrium. The concern of initially cancel the fundamental imponance of the speculative mathe-
sixteenth-century writers and musicians was not so much to move the matical understanding of music in Germany. Rather, the physical and
listener as to express the words. Renaissance theori sts and composers psychological musical elements were 10 be in resonance with eaeh other
al ike regarded the text as the object of affective expression. and with rationally discemable natural laws. Fundamental to this
argwnent was the belief that all creation is rooted in, reflects, and longs
for a natural order, the IInilas, which is the essence of the Creator
B AROQUE M US IC AND THE AfFECTIONS himsel f. Music would reflect thi s universal order by virtue of its
hannonic proportions. When confronted with this truth. the hwnan spi rit
Although the affective role of music remained fundamental throughout would instinctively recognize it as such and resonate accordingly.9 The
both the Renai ssance and thc Baroque eras. the exhilarated spirit of the controll ing factor found in the numerical proportions of the mu sica l
Baroque ca lled for a heightened expressiveness. The Renaissance intervals guaranteed a predictable reacti on in the listener to the musi-
bal ance between text and music was disturbed , resulting in <I musical cally created affection. The subjective expression of a personal senti-
manneri slll which exaggerated the role of text expression beyond the ment or feeling, so familiar to us through a nineteenth-century aesthetic ,
limi ts of the Renaissance artistic ideal. While the Renai ssance sought to is quite foreign to this understanding of music. The intended affection
portray a balanced view of the affections, the Baroque wanted to arouse remains an objectively conceptualized state of mind. At the very heart
and move the hwnan spirit to its passionate extremes. Music was of the Baroque concept of the affections lay a quasi-Newtonian premise
active ly to create the intended affections, not j ust passive ly reflect them . of law and order, action and reaction, mutually accepted by musician
Compos itions were to both portray and arouse the affections in the and audience . Rased on such rational explanations, the Baroque com-
li stene r. To the Renai ssance affecllIs exprimere the Baroque added poser could count on a calculated emotional response from the listener.
ajJecllls movere. It was no longer enough simply to present the aftcction thus eOnlrolling the emotional state of the listener through the music's
objectively through the music : the listener was to be dra.\\11 into the power. He had a concrete and well-defined understanding of the
dra ma of the presentation. to be emotionally affected himself. The affections. The desired affection could be presented and aroused through
Baroque composer wanted to move the listener to a heightened emo- the appropriate mode or key, time signature and tempo, fi gure and
tional state . It was now the listener and not the text that had become the cadence. along with the entire arsenal of rhetorical methods and devices.
object of the composition. The Lutheran melopoela regarded it as his mandate to use thi s
rhetorically motivated divine power of music appropriately to arouse
and move the affections in the hearts of the listeners. Effective and
affective musical text-setting would move the devout listener to greater
8. "For if the poet is nOI permined 10 write a comed y in tragic verse. the musician
will also not be pemlitted to combine unsuilably these two things. namety. harmon y and
words . Thus it wilt be inappropriate if ill ajoyfu lmRner he uses a mournful harmony
and ~ grave rh~1 hm .... On the contra')'. he must use jo)ful harmonies nnd rapid 9, "Oenn gleichwie aus 0011 l als dem einigen Wesen alles Gute herflid3et l und
rhythms in j o)ful matters. and in mournful ones. mournful hanllunies and gra ve was dem an Ne~hsten verwandt I eine Hanlloniam mit mm machet: Und was gar zu weit
rhythms. so that everythi ng may be done with proportion." O. Zarlin o, Le im>'lilUllmll' Von demselben cntfemet f mit ihm gar n[Cht hannolliret. Also mercket dalklbe auch
harlllcmirhe. 4. 32. as trallSlated in Oliver Strwlk. SOl/ree Ueadil1f(s ill M m"k Jlis/Q/J' Unser Ge miithe in der hamlOnia durch die Zahletl I wenn sie zurn klange gebra~ht
(New York: Norton. 1950), 256. werden." Werckmeister. ParadoxalViscol,,.se. 92 .
34 'The Concept o/Ihe Af/ee/io M 71111 COllcepl of/he A1Tf!"lions 35

piety and Godly devotion. TIle music of the church was therefore not to o f praeNpllllll. exemptulII. el imilatio was as imr<>rtant to the subj ect o f
limit itsel f to archaic or austere styles but rather to use those devices and lIIusic :1 ~ it \\ 3S to rhetoric. In order to master the disci pline of cOlllposi -
styles which had been proven effective in stirring the affections in tion. tlK" B.ll'(Xlue composcr therefore spent much time copying and then
secular Illusic, particularly in opera. In 1721 the Lutheran theologian imitati ng the works o f established masters. Toge ther \\ ith the study and
Gottfried Scheibel published a music treatise , Zujdllige Gedancken von aC4uisi liuIl of theoretical knowledge. the com poser also practiced hi s
del' Kircilenmlls ic. in which he deplored the attacks of the Zwingelianer empirical ski lls by obsen'ing human beha vior. recognizing as well as
w ho were opposed to the inclusion of the modem stylus lhealraJis in a l1 l-ll~ zj ng psychological phenomena on the basis o f acquired theoreti cal
church music. lie valued music's role in moving the affecti ons of the kno\\lC'd ge. rhe Baroque composition was not a result o f inspiration,
worshipers in hanna n), with the Word of God, He also supported the subjecti\c c-..: perience. or the "outpo uri ng o f a lonely soul. " Rather, it
practice of parodying operatic music by substituting appropriate sacred \\-as c:lic ulatC'd "in cold blood," as Martheson puts it .(2 Initially thi s was
words for Ihe secular text, adding, " I do not Wlderstand why the opera ba seo on acq uired knowledge, which coul d certainly include- but not
alone should have the privilege to move us to tears, and why this is also necessa ri I ~ - 3 past personal experience of the intcnded affection.
nol appropriate to the church.,,10 The audience for its part did not asswne During thc course o f the eighteenth century. the need to ha ve
an ae st hetic~renective or distanced and critical stance . The presented personally e.-. : perienced the affection was increasingly emphasized to the
affection enveloped the listener, causing a direct and spontaneous point that. at the dawn o f Empjilldsomkeit , experience rather than
reaction. lie was not free to control himself; rather he was controlled by rat ional kno wledge of the affection was considered of paramount
the realized affection, spontaneously breaking into laughter or weeping, imporlance. Mattheson, who would put so much emphasis on a di sci~
SOITOW or longing, rage or contentment. Numerous contemporary plincd rhetoric al approach to eOlllpositi on. sought to discover the root
eyewitness accounts refer to the intensity and grand effect of such ofthc afkction in its personal experience rather than in the Il lfmerllsY
afTection~aro us ing compositions, causing the entire audience to break The musical-mathematical discipline became subservient to the empir i ~
spontaneously into sobbing and wailing. ll cal realm of natural experience. in a signi fi cant reversal of Werc k~
TIle Baroque affective musical devices were considered learnable meister's understanding o f music, Mattheson contended that " Mathe~
and teachable, analogous to the mathematical and rheto ri cal~linguistic matics is a human art; Nature. howe\'er. a Di vine force. ,, (4 Thi s is also
aspects of music theory. In order to have access to and take advantage refl ected in the determination of the source of the rhetorical figure s:
o f music 's affective power, it was considered possible to undertake a \\Titers 011 rhetori c as well as music increasingly pointed to natural
rational analysis of music and to objectively identify its God~given linguistic and musical expression as the source fo r expressive compos i~
power. The Gernlan Baroque composer still viewed the act of composi - tional de\'iccs rather than 10 tradit ional scho lasti c sources and writings.
tion as a craft rather than an aesthetic undertaking. Like all other
di sciplines, music was taught by learning the rules, studying the estab-
lished examples, and imitating the works of the masters. The triwnvirate
12 "Die Erfindung will Feuer und Geist haben: die Einrichtung Ordnung lind
Maasse: die Ausarbeitung kalt 8 1ut und Bedachtsamkeit." Capel/meisler. 241. See atso
Mlnl/!xis . below. for an eXp lication of Imi/otia.
10. George Buelow. "Scheibel." Nell' GrQ~'e DicliOlw ry, 16: 60 1. 13_ "Lknn niemand wird geschickt seyn. eine Leidenschaffi in andrer Leute Ge-
II . " Die 8ewegung ist oftmal so groB und heffiig I daB die auditores liberlaut Illlithcm 7U enegen, deT nich1 eben di eselbc Leidellschatlt so kenne, als ob er sie setbs(
anfangen zu schreien I seufzen I weinen I sonderlich in casibus tragicis. daB auch in elllpfulldcn h~lle. oder nod i empfindet." Ibid .. 108. "So wird mi r js niellland dieses Ziel
diesem S1iick die heutige Music der ahen nichu bevor gibt." Kircher, Musurgio (Teffen. der keine Absichl daraufh at. seiber keine Hewegung spiire1." Ibid .. 207.
Urril'ersalis. in the translation of Andreas Hirsch. Ar/is ,,,ognoe de COIISon O & Dissoll o 14 . Ma1hesis ist eine menschl iche Kunst: Natu r abet- ~ine GoUliche Kraffi." Ibid .
Ars M illor; Dos is/ I Philosophischer Ex/roc/ (Schwllbiseh.Hall, 1662), 134; cited in VOIl'(!tie. 21. Fwthenl'lote. " Menschliche Gemuther sind gl ~ichsalll das Papier. Mathesis
Dammann, IIfusikbegriff, 228. ist die Feder. Klinge sind die Dinle; aber die NalU r 1lI\1~ dCT' Schrei ber seyn." Ibid .. 20.
36 11.e COl1 cepl of lhe AjJecliom The Concept ofthe AffeetiO/IS 37

Thus rhetorical as well as musical expression became increasingl y mined by a combination of two of the four primary attributes: hot and
empirical and less theoretical. Human experience rather than dogmatic cold. wet and dl)'. Each temperament is also associated with a certain
divine truth gradually became the foundation ora new music aesthetic . b,)dy Iluid or hwnor, produced by an internal body organ. lbe following
table summarizes the concept:

THE AFFECTIONS AND THE TEMPERAMENTS,

A MUSICAL P ATHOLOGY
HUlllo r &

The mid- seventeenth century witnessed the publication of two widely

~ lel11enlS &
read and influential texts on the subject of the human affections. Rene
Descartes 's Les Passions de i"iime (1649) was the first modern attempt
to develop an all-encompassing, systematic theory of the affections . Not
only the reasoning behind the process but the actua l physiological Season Winter
Tune of Day Night
process of bodily reaction to the represented affection was subject to
rational explanation, resulting in a kind of musical pathology or JIll/sica Love, Joy
AffeC li ons Anger, Fury Sorro ...... Pain PcacefulllesS,
patherica. Only one year later. Athanasius Kircher's Mllsllrgia lI11ive/"- Moderate
salis appeared in print in Rome. It is a synoptic, encyclopedic compen-
dium of historic and contemporary musical thought, truly universal in
nature. Kircher was a Gennan Jesuit and fanner professor of sciences E\'el)' human being is governed by a certain temperament according
working in Rome. Hi s work is a far more detailed and comprehensive to the indh'idual's physiology, which is determined, in part, astrologi-
tome than Descartes's. incorporating all facets of musical interest. cally at time of birth. A personality will reflect those affections associ-
Kircher devoted much antis Mllsllrgia to the subject of mllsica pathe- ated with its corresponding temperament moce prominently than other
lica, discussed at great length in the chapter entitled QlIomodo IIUJllerus affections. All imbalance in the humors results in a pathogenic condi-
harmonicus affecllIs moveat ("How the harmonic numbers arouse the tion. Furthennore, an external affective stimulus (music or otherwise)
affections" ). The desire to link mathematics, and the closely related will influence an individual with the corresponding affective inclination
di scipline of medicine, with rhetoric is unmistakable, now in COl-YUIlC- much more strongly than those individual s governed by contrasting
tion with the teachings of the four temperaments and humors. temperaments. The individual is thereby inclined to suffer from some
The teachings of the temperaments. going back to Greek medical affiictions (due to an overemphasis of a particular affection) more easily
than others.
theory as fonnulated by Empedocles, Hippocrates, and Galen, remained
authorital ive into the Baroque era. 15 According 10 this ancient theory. . An ind iyidual is moved to certain affecti ons by a process which
there arc four different inunan temperaments : melancholic, sanguine. tn\'o lves a change in balance of the four humors in the body. When
choleric, and phlegmatic. Each temperament is associated with one of appropr iately aroused by extemal stimuli, the affected body organ
the four elements: earth, air. fire, and water. A temperament is deter- produce s its corresponding humor, wruch enters the blood stream in a
gaseous state. The vaporous humor then combines with the spiritus
animalis (Descartes: esprits animal/X; German: Lebensgeister). Des-
cartes con siders these the smallest subparticles in the blood, a kind of
15. Judith Pilszynski, 'The Evoh'ement orthe Humorat Doctrine:' Medica/Times
ether. The "humored" spiritus animalis then rise from the blood and
92 , 10 (1964),1 009.
38 1'he COnCf!pf of the Affect/OIls The Concept of/he Affections 39

enter the nerves, described as hollow, tubul ar tissue. Thus they travel principles must cooperate. Were a composer fully 10 comprehend and
through the body. affecting all body functions and parts, including the ma ster Ihese principles, he would be able to arouse any desired affec
hlmlOr-producing organs and the brain. These vapors also influence the lion.
soul . wltich was thought to be situated in the pineal gland. '6 This process Li steners' different reactions to hearing the same music was also
would result in the corresponding affection, a physio-psychological rati onnlly explained. The varying lemperaments of different individuals
condition which would last until another affection was evoked. wou ld predispose them to stronger reactions to different affections, For
The effect of music on the human psyche was Wlderstood as just one example. a melancholic person would reacl much more readily and
of the affection-arousing stimuli. The numerical proportions, which are rchemently to melancholic music than would someone of a choleric
at the root of all created matter and life, are the same ones which are charar.:ICr. This is due to the fact that Ihe melancholic temperament ,
reflected by the musical ilHervals. Thus music, the audible form of the along \\ilh the already dominant corresponding humor, wou ld be that
numerical proportions, facilitates an aural perception of the realities much more receplive to the arousal of an affeclion parallel to its own
which lie at the root of all natural phenomena. The properties of the air naMe. TillS understanding prompted Morely to speak of "diverse men
which is set in motion through the music is analogous to the music itse lt~ diversel) affected to diverse kinds of music,',rl and Werckmeister to
both consisting of the same proportions. These proportions then enter assure that "the melancholic or passionate person very much appreciate
the body via the ear, thereby setting the corresponding physiological the correct use of dissonance.,,'9 Not only wou ld "diverse men" react
functi ons in process and resulting in the appropriate affection. The differently 10 various affections, but they would also be attracted to
numerical proportions embodied in the music, the "outer air," sets the music co rresponding to their individual "temperamental" predisposi-
spirillls allimalis, the " inner air," into motion, which in tum motivates lions. In fact , an individual 's predominant temperament could be
the humors. 17 For this process to function satisfactorily, it is necessary discemed from his musical preference.20 These variables also precluded
that both the text and the accompanying music express the same a systematic and generally val id aOoctrine" of Ihe affections. Those
affection, and nOI contradict each other. The quadrivial and the trivial musical devices and idioms which might arouse a certain passi on in one
listener may not succeed 10 Ihe same degree in anolher li stener. This
become s particularly evident in the discussion of modal and tonal
16. The pineal gland is situated near the hypothalamus, at the base of the brain. It
characlerislics. A mode which may suggest a certain affection to one
presently has no knOV.ll function, although its tiny follicles suggest a glandular function .
It seems to ha\'e some calcium.containing bits thaI medical researchers have aulhor (composer or listener) may not necessarily evoke the same
descriplh'ely dubbed "brain sand." Although some aspects of the conCepl of the affection in another.
temperaments seem quite far-fetched to a modem mind, the similarity between the
hUlIIl.lrs and the hormones is an intriguing one.
17. "Vorausgesetzt nun I da~ die einige proportion des numeri relati. in welchem
die qualitates disponiret sind I das praedominium derer passionen oder GemUths-
Bewegungen machet I und daf} die unterschiedliche Vermischungen des numen relati
die Ursachen der Wltenchiedenen harmonien sind I so iSI gar leicht zu schliessen I da~ 18 fhomas Morely. A Plaille ami Easie IlIlradllCli()n 10 Praclicalf Mlisicu
eben dieselbigen proportiones, welche sich in denen qualitatibus befinden I auch in (London. 1597; newed" New York: Nonon. 1952).297.
denen harmonien gesucht werden kOnnen; daher e5 dann kommt I da~ I wenn jemand 19. "/I,telancholici Wid lieifsinnige Leule werden den rechlen Gebrauch der
eine gewisse disposition oder Ordllung harmonischer proportion htiret I dap sie mit Dissonantzc n ... seht beypflichten ." Mus/cae mallremalicae. 84.
denen Ubereinstimmen I in welcher in ihm berneldte qualitliten disponirel sind I so ist 20 . "Oerowegen kan man so wohl eines Musici der da Music machet f als eines
gewi~ I dap die passio, welche ihn llberherrschet l dadurch gereitzet W1d "ermchret wird Zuhorendcn GemUthe I daher ziemlicher mapen erkennen . . .. fin ttaunger und
I lUld zwar dieses urn deswi11en I weil gkich und gleich nach einandcr begierde tril,gt." Melancholischtr I wird mehr aur traurige Music halten I als auf freudige lind luslige
Werd.meister. Mlisiculisches Send-Schreiben, 60. (This Werckmeister work is an St(icke I 1.'111 frtlhlicher Mensch hingegen wird \'on der traungen Harmonie nicht viel
expanded translation of Agostino Steffani's QI/U"IO certc::o [1659]). Cited in Dam- halten. Abo, wenn einer tin Instrument berUhret I so kan man seine Humor und
mann. Mllsikbesriff, 250. GelOlithe zkmlich daraus erforschen." Werckmeistcr, Pamdoxal-DiscQurse, 38.
40 The Co"cepl a/ the Affectiolls 711(1 CQIICepl 0/1/14! AffecliQns 41

THE AFFECTIONS AND MODALITy/ToNALITY ccnIUI")'. the eight medieval ecclesiastical modes had been expanded \0
r.\c lvc thtough Glareanus's addition of the Aeolian and Ionian modes
Renaissam;e and IJaroque theorists and composers frequent ly stressed l Ius their plagals). Based on thejiuoli.s A (Aeolian) and C (Ionian), tltt:
that one of the primary considerations regarding the musical expression t~ O nc\\ modes were to become the prototypes for the major and minor
of the affections should be the choice of a composition's mode or key. s~' a l cs . 1\\0 paths lead toward the gradually emerging majo r~m i nor
Throughout the Middle Ages and the Renai ssance, the various church wnalit). Beginning wilh Zarlino, theori sts increasingly pointed to two
modes had been assigned expressive characteristics analogous to the bas ic d asses of modes which were determined by either a major or a
ethos of the Greek modes. As the Renaissance drew to a closc. hannonic millor th ird above thejinalis, paralleling the major and minor scales.
concepts were being significantly revised: maj or-minor tonality was \\ 'hile the modes which generatc a major triad over their fina/is were to
beginning to replace modality, while the expressive characteristic s of he used 10 express joyful sentiments. those with a minor triad could
the modes or keys were be ing redefined. Although no theorist or express sadder affections. Zarlino thus maintained that " certain compo-
composer would have suggested that modes or keys do not contain sitions aTC lively and full of cheer, whereas others 011 the contrary are
expressive power, many questioned the va lidity o f associating speci lic some\\ hat sad and languid .... Whereas in the first group the major
affections with individual modes or keys as had traditionally been done . third is often placed beneath the minor, in the second 19rollp 1 the
Grounded on the assumption that the church modes had developed opposite is rrue ."n Zarlino' s differentiation between these joyful lIIodi
from Greek forerunners, humanistic zeal encouraged the application of laefiores and sad modi trisfiores was also propagated by Calvisius in his
the classical modes' affective ethos qualit ies to the church modes, influent ial Exercitatio Musica tertia (1611}.H It was Johann Lippius
resulting in substantial discrepancies between the Greek and the medi- (Synopsis musicae nova, Strassburg 1612) who ';first presented a
eval modal characteristics. Unbeknown to Renai ssance writers, their comprehensive theory of major-minor polarity" differentiating between
church modes had evolved from the Byzantine octoechoi rather than the "two types o f mode almost exclusively according to the quality of the
Greek ethosoriented modes. Not only were there discrepancies between ' tonic' triad. ,,24 In addition to referring to joyful and sad modes, Andreas
the classical and Renaissance modal characteristics, but. as Manheson Herbst III one point mentioned three qualitative differentiations o flhe
indi cated, " neither do today' s musicians agree on the character of the modes Uoyful, sad yet gentle, and harsh}, just as Kircher had pointed to
keys, nor can any unifomlity in the compositions be easily establi shed three funda mental affections: joy, pious submission, and sorrow.!'
in this regard, reinforcing the saying: ;Many heads, many minds. ",21 At JohaiUl Kuhnau, J. S. Bach' s Leipzig predecessor and Johann I-Iei ni-
times an author might even change his mind on a specific mode's effect. chen's teacher, maintained that "the difference between the modes with
As much as some musicologists may have tried to develop a Wlified the major third and the minor third is certainly clearly perceptible, in
doctrine of key affections, there is little hi storical basi s for such a thesis.
The changes to modallheory during the Renaissance were inspired
not only through rediscovered classical music theory sources but
22. Rita Sleblin, A I/{slory Qf Key ChoruCleriSlics in the Eighfeelllh u/UJ Eu/'I)'
through an evolving and changing hannonic aesthetic . By the sixteenth Nineteenth ( e/f/uries (Ann Arbor: lIMl Research Press, 1983), 3 J.
23 . Mallin Ruhnke, joochi'" BUf7/reisler. fill Beitrag ZIIr MWfiklehre "'" 1600
(Kassel: Bliren reiter, 1955), 120r.
24 . Joel Lester, "The Recognition or Major and Minor Keys in Gennan 111COry:
21. "Gleichwle nun die Allen I also sind auch die heutigen Musici wol schwerlich 1680~ 1730; ' Journaf of Music Theory 22 ( 1978), 65 .
einerley Meinung in dem was die Eigenschaffi der Tohne belriffi l und kan auch nicht 25 "VaT allen dingell ,her I soli ein solcher modus, welcher mil der materi dell
leichtiicb tine Gleiehllirmig,keil in allen Srucken hierllber practcndiret werden I massell Texles I odtr der Won rein UbereinstinUlll 1 elegin und erweh1et werden: Dann etliche
es wol dabcy bleibel: Quo( capita, tal sensus." Johann MattheSOIl, Dos lIeu-erojfrrele Modi seynd fi":ilich: als I. 9. 11. Etlithe abet Itaurig und gelind : als 4.6.10. Elliche hart
Orchestre (Hamburg, J 712), 231 f.. 6. und l.Omig: als Lydius der filnffie modus:' Herbsl, MrMim poe/ica, 83.
42 The Concepl of/he AO'llo,u The COl/repl oJthe "ffiwions 43

that the fonner present something perfect and cheerful. while the latter affecti ons can be expressed in one and the same mode or tone," for
portray a sad, melancholy, and longing s pirit."ltl Maltheson also con which n:aSon he felt inclined to further elaborate on the expression of
ceded that those "who wish to discover the secret of harmony' s power affeclin: \\ords. JO Similarly, Kuhnau "is surprised, that many musicians
in the major and minor third, with all minor keys being sad and major and espedally those who are familiar with the fundamentals of their art
ones being joyful, are certainly not wrong on all accounts, although they (includ ing the otherwise inquisitive Alhanasius Kircher) nonetheless in
still have much to leam."n Furthermore, the frequent additions of a B- spite of mathematical principles adhere to the preconceptions of the past
flat or an F-sharp to the various modes resulted in transpositions either and conlinue 10 repeat in simple blind faith that each mode has a certain
to the "major" Ionian or the ''minor'' Aeolian mode. Either way, major- preci se cll'ect." Jl Kuhnau's student Heinichen also questioned the
minor tonality gained increasing acceptance throughout the seventeenth validity o f specific modal effects. maintaining " that one can express the
century. albeit not always without vociferous objections. It would be same \\ords and affections in various and. according to the old theory,
misleading to suggest that modes with a minor third above thefinalis opposing J...t'ys. For that reason, what previous theorists have \...Titten and
were consistently considered sad and those with a major third joyful. In re-\\Tinen about the properties of the modes are nothing but trifles. as if
fact, neither the Dorian nor the Aeolian were usually referred to as one mode could be merry, another sad, a third pious, heroic, war-like,
particularly sad modes. Conversely, the Lydian mode was frequentl y etc. OUi e\ en if these imaginary properties had any inherent correctness,
regarded as harsh, presumably because of the tritone between itsfinalis the slightest change of temperament used for them (which can never be
and subdominant note. However, ifit is altered through the addition of accurately done by the tuner of instruments) and even more changes of
a B-Oat (as was frequently done), it would result in a joyful, transposed Chortol/. Kammerloll, French, and the extravagant Venetian tunings
Ionian mode. Thus the placement of the semi-tone within the notes of would cause continual Ship\\Tecks. In my opinion. the ancient theorists
the mode or scale of a key also detennined its expressive quality. erred in thei r research of modal characteristics. in the same way as we
Not only was the authority of the traditional modes being called into continue to crr today in judging a musical work .... It remains the case,
question, but so too was the principle of their distinctive expressive therefore. that every single key and all keys o r musical modes without
content. Burmeister had already admitted that he had failed to discover distinctiOIl arc suited to expressing many opposing affections."n
the specific power of the different modes as defined by older sources, Nonethe less. Baroque theorists continued to recommend a careful
but had noticed that a composer could express various sentiments using choice of mode or key in setting a text. frequently listing the expressive
the same mode.28 A similar opinion was expressed by Burmeister's characteri stics of the various modes, even if the validity of such a list
contemporary, Calvisius. 29 Herbst also "senses, that a whole range of

30... Jedoeh weil ich spure J dal! gleichwol inn einem jeden Modo oder Tono,
26. "Sonderlich ist die Difference zwischen denen Toois mit dec Tertia majore, und alterley a/letlen dep Gemiiths klinnen exprimir1 und aupgedrueke! werden I als hat mich
denen mit der minore gar sehr empfmd\ich I indem jene etWas vollkommenes I und \'or gut 3ngeschm I von dieser Saehen etwas l11ehrers ill specie, und insonderheil zu
lustiges I diese aber etWlS trauriges I melancholisches I und wegen des Mangels eines tracti.en und !llll!zufilllren. Erstlieh IlJiissen die Verba und Won ... I wo1 ponderir1 und
halben COlllmatis ohngefehr I oder andem kleinen Theilgens I was sehnliches derosdbcn Natur und E),gen5(:haffi fleissig in acht genommen lUld betraehtel werden."
vOTStellen." Kuhnau, Biblische Historie". xii. Herbst. '\IIf1'1c(I poeliclI. III.
27. "Diejenigen I die da meinen I es steeke dasllantze Geheimnip in der Ter1ia 31, "Jch se1ber wundre mich I daj3 viel Musiei. lind sonderlich diejenigen I weleheo
minore oder majore, und danhwt wollen I da~ aile mone Tohne I in genere davon zu da~ Fundamcl11 ihrer KlUist nicht unbekand ist (darunter ieh aueh den sonsl eurieusen
reden I nothwendig trawig sind f hergegen abet I dal! aile dure Tohne gemeiniglich eine Alh an;!siu111 Ki reherU111 finde) dennoch wider die Principia Matheseos in denen
lustige Eigensehaffi hegen I haben zwar nicht in allen gar zu grosses Unrecht l sie sind Praej ud ki i5 derer Allen Sleeken bleibell l und in einem rechten Koh1er-Glauben ihnen
abet in der Unlenuchung noch nicht wei! gekommen." Manheson, Orchestre, 231, 3 . immer blindlings nachsagen I dap dieser Tonus praedse diese Wirckwlg ein ander eine
28. Ruhnke. BurmeiSler, 120f. illld",re habe" Kuhnau. Bib/iselle Historien. xii.
29. Ibid., 122. 32 . Cned in Buelow. 17lOrollgh-8ass AC'C'QmJ1(1l11mem. 283.
44 Th~ Concept ofthe Affections 45

was questioned in the same treatise. In his chapter a ll sening the text. or property allo\\ ed for a wider spectrum of the mode 's application and
Herbst e laborated on the expressive qualities of the modes, a topic he recept ion. Specific key characteristics were thus also closely linked to
had already considered in his discussion of the exordio, medio. andfine an individual's temperamental disposition rather than only to designated
of a composition (ch. 8). He suggested that the composer should first expressive attributes. After voicing his doubts regarding the composer's
examine the meaning of the text and then choose a suitable mode, "for arbitrary powers over his audience, Kuhnau reminded his readers that
the mlisicllS poeticllS (shou ld he not be well versed and experienced in the 'temperaments of individual s are quite different. For the composer's
musical composition) will not easily be able to express and fe-p resent ease or difficulty in executing his intentions will be determined by the
the affections required by the text in any mode; all modes are not temperament of the listener. A merry spirit can easily be led to joy or
suitable for all texiS. for SOme have joyful and olhers have sad properties compassion. while the same is achieved with a melancholy or choleric
and qualities, and are thus perceived."B Herbst went to quile some (emperamem only with great difficuhy ."J~ When Heinichen discussed
length in describing the modes, presumably for those less "well versed the criteria for choosing a certain mode or key for a composition. his
and experienced in musical composition" and not able to express a first consideration was the inclination or temperament oftbe composer.H
certain affection in any mode. After dealing with the expressive charac- Similarly. Mattheson stressed that his suggestions regarding the expres-
teristics oflhe twelve modes, Herbst then discussed the more significant sive nature of the keys were only his personal interpretations, "allowing
musical elaboration of affective words. Vivid text expression rather than evcr)'one com plete freedom to construct a better arrangement according
"correct" choice of mode became more important for the success ful to their o\"n sentiment, being fully aware that although they may seem
representation of the desired affection. satisfactory. they will not necessari ly find favor with everyone else."J6
Most oflhe references to the modal characteristics point to a mode's He repeated thi s concern at the end of lhis discussion of the key' s
general expressive properties rather than 10 an affection. A joyful or sad expressive content: "the more one wishes to clarify the matter, the more
mode could be Ilsed to express a joyful or sad affection, without inher- contradictory it becomes. For the opinions regarding this matter are
ently being an expression of that affection. This allowed authors to innumerable. I can only explain this on the basis of the human tempera-
describe the modes (or later keys) as possessing a certain character meni S which must undoubtedly be the main cause for a certain mode to
withmll limiting their use to a specific affection. Thus some theorists seem merry and lively to the sanguine temperament but troubled and
would continue to list the properties of modes while at the same time sorrowful to the phlegmatic one. For that reason we will not dwell on
insist ing that compositions in one mode could express a variel)' of
contrasting affections. In stead of dogmatically imposing a specific and
objective aflection on a key or mode, the reference to a mode's character
34. "Und wenn WIS nichts anders zweiffelhaffiig machen kllnte so ware doth dieses
einzige genug dazu I dall die Complexiones der Menschen gantz unterschieden sind.
Denn nach dem der Humeur der Zuhllrer ist I nachdern wird auch der Musicus seine
Intention schwer ode r leichte erlangen. Ein lustiger Geist kan ohne Schwierigkeit zur
33 . "Zurn ersten I soli ein Componist den VerSland d~p Textes odcr Selllenz \Vol Freude o.der zUm Mitleiden gebracht werden I da hingegen ein KUnstier grosse MOhe
in aellt nemm I denstlben wol exwniniren \lIld beuachten I in weldlenl Modo nernlichen haben wlrd J wenn er dergleichen bey ei nem Melancholico oder Cholerico ausrichten
er die Hannoniarn oder den Gesang componiren und Selzen will. ... Also ein Musicus soIl." Kululau. IJibluch, Historien, ix.
Poeticus (wenn er \lichl wol versiret. lind in setzung der Consommtien, sonderlichen 35. "However. the choice of th ese depends primarily on four basic conditions: (I)
exerciret und erfahren ist) wird nieht in einem jeden Modo. die jcnigcn affeClen und . on the inclinatiOIl or in physical tenns, on the temperament of the composer."
Bewegwigen I so der Texllmd Sentenl;': erforder1 1 also leiehtlichen hcrfilrbringen l und Buelow. l'hv/'(JUKh-Bass Accomponimell/, 283 .
an den Tag geben koonen: Denl\ sich nkht aile Text auff aile Modos schicken I weil 36. ". . dabey zugleich einern jeden seine "lIllige Freyheit lassen I naeh seinem
etliche Wlicher. etliehe aber Irawriger Proprietllt und Eygenschaffi seyn I lind erfunden Sentiment eine andere lind bessere Einrichtung hierin zu machen I von welcher er sieh
werden." Herbst. M'IJica poe/ica. 10 1. Among others. Ki rcher s\Lggestcd a similar d.och auch I Wetll sic gleich noch so vollkommen I nicht wird versprechen konnen I dap
approach. Dammann. Musikb(!glijf. 315. Sic bey allen Wld jeden Ingress finden werde." Matlheson. Orchestre. 231. 6.
46 The Cmrcepl of the Affecti(}fls Th, CQIICepl afille A(feCIiom 47

Ihis any longer, but allow each one the freedom to ascribe certain thi." other areas of Baroq ue compositio nal theory. the emphasis on
qualities to the modes according to his own disposition."l1 lncreasingly rh~ Lhmic mrielas shifted to a desi re to portray and arouse the alfections.
the natllra of the composer and audience instead of the scienlia of the Werchllh:ister spoke of the tempo indications such as presto or adagio
music becomes the determining factor in the musical expression of the prill1aril~ as indications o f the affecti on. Should "changes be indicated
affections. Rather than limiting himself to musical artifices whose \\ithin a composition governed by one affection, the different tempi are
expressive content had been predetermined, the' Baroque composer to be Wlderstood as proportional changes within the go\'erning tac!lIs: ,}Q
sought to express the textually or otherwise inspired affections with Midl:lcl Praelorius supported thi s view when he suggested that the
dev ices morc closely tied to natural ex.pression. These he found in the designa tions o f forte or piaI/O, presto. ada1!!io. or lemo serve 10 express
principles and procedures of rhetoric. For rhetoric was not only inextri- the afkction and stir the listener . ~n Mauheson also encouraged the
cably tied to natural speech but had been intimately associated wi th the composer to focus on the intended affection when choosing a tempo
expression of the affections since antiquity. Not surprisingly then, the indicati on: "This purpose must always be visualized when a composer
hwnanistically oriented musical discipline found rhetoric to be the ideal sets his adagio, andante. presto. etc, Then his work will be a success.,,41
framework for developing its affective expressiveness, rather than the Both tempo indications and rhythmi c characteristics of dance fonns
frequently contradictory concepts of mode or key characteristics. could hcl p express the affection. Mattheson ampl ified this by elaborat-
ing on I) pical Baroq~le dance fOl1us: Ihe minuet typifies moderate
delight (mdss ige LIIJ/igkeir). the ga\'otte jubilant joy (jallchzende
THE AFFECTIONS AND RHYTHM Frellde). the bourree contentment (Zufriedenheil), etc. 42 The various
dance genres were to embody the affective characteristics in much the
Rhythm, meter. and tempo were also examined and explained according same way that the temperaments of individua ls or stage actors typify a
to their affecrive properties, for these too are numerical expressions. certain a ffe ction. Un like the varielas-oriented Renaissance suite. the
While the sanguine and the choleric personalities would generally prefer Baroque suite was thus a series of dance movements ordered and
faster tempi , a serious and grave composition would find resonance in detenuin('d by affecti on. In an age \\'here all musical composition \vas
the temperament of a melancholic or phJegmatic character, Although the directed IOward expressing and arousing the affections, the correlation
importance of rhythmic variety in a composition was emphasized in the bet\\een specific dances and their afiections resulted in the dance fom]
Renaissance,ll the reason for its importance lay in the desire to delight assuming ,I predominant role in structuring both sacred and secular.
(obleclalio) the listener with a varied but balanced composition, As in inslrumental and vocal music .

37 . "AUrin je mehr man sich hestreben wolte I etwas positives da von zu staluiren
I je mehr eOll1radieenles w(lrde sich vielleicht finden I sinlemahJ die Meinungen in dieser
Ma\erie fast unzehlig sind I davon ieh keine andere Raison, als den Unterscheid der
Mense hli ehen Complexionetl zu gehell weiP I als wodurch es Zweifels frey haupt- 39. Dammann. MlIsikbegl'iff, 310.
slichlich gesehehen mag I dap ein Tohn I der einem Sanguinischen Temperament lustig 40. "forte, Pian: Praesto; Adagio Lento .. . So deuchtet mir doch solche variation
und emnullemd scheinet I einem Phlegmatischen trtige I klllgli ch und betrUbt vorkommt \lnd umb" l'~h~elung I wenn sie fein moderate und mit einer gUICl! gratia. die an'cctus zu
I u. s. w. derowegen wir uns hierbey auch nicht lIlnger auffhahen I sondem einem jeden exprimiren un d in den Mensehen zu moviren. vorgenommen lind zu werek gerichtet
noehmohls die Freyheit gerne lassen wollen I dap er einem oder andem Tohn solche wird , nkht allei n ni eht unlieblich oder unrechl sevn I so ndem viel mehr die aures &
Eigensehaffien beyJege I die mit seiner nattirliehen Zuneigung om besten Uberein animo5 audito rwn affi dre. " Michael Praetorius. ,s)''';(lRII1(/ Musiclwl III (WolffcnbUttel,
kommen { da man delln finden wird." Ibid .. 25. 1619),1 12.
38. " . .. ita ct in Illusica eoneentuum diversitas animam auditorum vehementer in 4 1. Cap el/meisler. 233, 137.
oblectamentum provocat." Tinctoris. cs tV, 152. dted in Dammann, Musikbegriff, 309. 42, Ibid. 2241T.
48 The Concepl oj the Affections 1ne Concept o/the Affections 49

ON SPECIFIC AFFECTIONS acCOWl! of its " imperfect" and "dissonant" proportion but also because
of its small scope or span. The various dissonances, particularly when
There seems to have been limited consensus regarding the number of moving slowly, also cause the spiritus animales to weaken and slow
affections which could be represented through music. Kircher suggested down, finally even causing their suffocation. This unnatural condition
that the various affections could be categorized into three groups Uoyful. is reflected by an unnatural, slow, thin and weak pulse, resulting in an
pious/subdued, and sad), out of which all the other affections originate. 4l affection of sorrow or sadness. 46 Werckmeister continued this thought
He then listed eight typical affections: Amor (love), LUcllls sell Plal/etllS by explaining that the weakened spiritus animales find it more difficult
(mourning or lamentation; also called Dolor: grief or sorrow), Laelitia to enter the senses and intellect. 4 7 The same intervals in a fast tempo
et Exu/latio (joy and exultation), Furor et bfdigllatio (rage and indigna- would express and arouse the affection afrage.
tion), Commiseralio et Lacryma (pity and weeping), Timor el Ajjlicrio A joyful affection requires the more consonant and perfect intervals,
(fear and pain), Praesllmptio et Alldacia (presumption and audacity). found in the major keys. The rhythm should be faster, and there are to
and Admiratio (admiration or astonishment). Other writers also summa- be few dissonances and syncopations, the texture being closer to
rized the different affections in two or three categories. The Gennan perfection both in hannony and rhythm. As an individual longs and
philosopher Christian Wolff differentiated between agreeable and strives for wholeness, that is for God, he strives toward the unison,
unpleasant affections, with the affection of longing being a mixture of resulting in joy and contentment. Thus the closer the nwnerical propor-
the two extremes.44 Mattheson mentioned over twenty different af'fec- tion of an interval is to the unison, the more joyous must be its effect.
tions,43 many of them being closely related. In spi te of the different The major triad with its proportions of 4:5:6 is therefore considered
classifications, there seemed to be general agreement regarding the more joyful than its minor cOlmterpart, with the proportions of 10: 12: 15.
musical representation of at least the fundamental affections. The reason that compositions in the minor key were to end in a major
A sorrowful affection could be expressed through harsh or grating triad or open fifth has much less to do with presenting a happy ending
intervals and hannonies as well as through syncopated rhythms. Just as than with the longing and striving for perfection. 4 ! The tessitura should
the human condition in this affection is far removed from the joy and
contentment experienced in a wholesome and healthy situation, so too
46. "Die Traurigkeit hat auch gantz widerwlirtige pulsus, nemlich gering / langsam
should the intervals be far removed from tbe image of perfection, the / diinne und schwach I dardurch wird die Wlinn ersticket I wegen Zertretttmg del}
unison. The suggestion to use syncopations or suspensions rests on both Gebliits ! daher komI klilt Wld Erstarren de!} gantzen Leibs; gleich wie nun in der
hannonic and rhythmic irregularities. While the resulting suspensions Excessiv-grossen Freud die Geister zetlrennet werden I dap der Mensch sterben Wld
verschmachten mull I also gehets auch mit der Excessiv-grossen Traurigkeit f wegen der
will incur hamlOllic dissonances, the rcgular meter of the com position ErsticklUlg der Geister." Kircher, Musurgia unh'ersalis, in the Hirsch translation, Artis
will be interrupted, thus causing uncertainty. 'Jbe effect of the dissonant Magnae, eXlr. 317; cited in Dammann, MlIsikbegriff, 274.
intervals and hannonies with their high numerical proportions will 47 . " ... freylich also durch die unvotlkommenen consonantien Iraurige affectus
regen f und durch den rechten gebrauch der dissonantien noch mehr I denn sie ziehen
concur and sympathize with the human emotional state of this affection,
nichl allcin die Spiritus zusanunen I sondem gehen schwerlicher in den Intetlectum, und
thus ensuring the desired result. The dissonance of the semi tone is Sensum ein." Werckmeister, Mtlsiealisehes Send-Schreiben, 67.
considered useful for portraying the sadder affections, not only on 48. "Jedoch wird der Gesang in Cadentien ... sowohl in der Mitte ... als au ch im
Final ill die Tertiam majorem, ob schon der Gesang mollis ist I versetzet. Woraus wir
scheu I dap die Natur nach der OrdnWlg lUld Vollkommenheit / strebet I damit doch der
~ensus zu letZl sein Vergnilgen habe." Werckrneister, Musieae Ala/hemalieae, 81. And
43. See p. I09, 11.38. below. Slnli1arly: "Clausula formalis ist in mancherley Partibus und Stinunen I durch allerhand
44. Walter Serauky, "Affektenlehre:' Mllsik ill Geschichle 1I11d Gegemml"/ (Kassel: liebliche Concordantien ... da in deroselben final Wld Endschafft I entweder eine Rub
BlIrenreiter, 1955). t: 113. odeT stillstand I oder eine perfection Wld Voll kommenheit erfordert wird." Herbst,
45. Capel/meiSler, 16- 19, 56-82. MUsica p oetiea, 58.
50 The CrmCf'pl oj/he AjJecliorrs 7he CUllcepl of the A,Occfio/U 51

be relatively high. resulting in a brighter sound. Triple time, symbolizing THE T EXT AND THE AFFECTIONS
the Trinity- and therefore perfection-is commonly used, especially in
conjunction with faster moving dance CamlS. The swift, leaping conso Throughout the seventeenth century, the musical representation of the
nances will effect a similar movement of the spiritus animales, coincid affections was inextricably tied to text expression. Music theorists
ing with and thereby arousing the characteristics of these affections. It frequentl) included lists of words closely resembling lists of affections
is a far more natural affection than sorrow because it is the " friend of which were to receive particular atteOlion in the composition. After
life and health,'''9 discllssing his musical-rhetorical figures, Nucius stated that "to these
The affection of love is characterized as a longing to appreciate the must al so be added the other embellishments of the harmonia, beginning
beauty of something or someone beloved. This affection will therefore with the affective words: rejoicing, weeping, fearing, lamenting,
include both longing and joy. Those who find themselves in this bewail ing. mourning, raging, laughing, and pitying, which are expressed
condition are unstable, at times vehemently stirred, at times languid, and and painted through the variety and sound of the notes."}] A similar list
at yet other times " agreeably tickled" (suaviler Iilillames, Kircher). was incorporated into the pathopoeia definition by Thuringus, a fi gure
Matthcson refers to love as a dissipation or diffusion (Zerslreuung) of which. as Burmeister pointed out, expresses the text in such a manner
the Lebens-Geisler, requiring the employment of intervals of similar ;'that no one remains untouched by the created afTection. "~2 The li st of
nature. 30 The composer must find means to express these various and affective words reappeared in Herbst's Musica Poelica, preceded by
contrasting stirrings. Hannonic and melodic material should include introductory comments wruch again emphasized the expression of the
both rousing and gentle intervals, both soft (i.e., semi tone) and strange affections: "'T1lerefore, the beauty of music consists primarily in stirring
intervals. The tempo and rhythm should be calm, as with the sadder the heart and the affections, which was demonstrated in the preceding
affections. discussion of the nature and properties of the modi. However. because
The other affections are evoked by using various combinations of I recognize that the various affections can be expressed in anyone
consonant and dissonant intervals and hannonies, faster or slower modus. I find it appropriate to be more specific and to elaborate on dtis
rhythms or tempi , and different tessituras. The affection of rage and matter. Firs!. the words upon wruch the composition is to be based must
indignation should use fa ster, more vehement tempi and rhythms with be well pondered , their nature and properties being carefully observed
a liberal use of di ssonance. It is the affection closest to the choh:ric and considered, beginning with the affective words."B While attributing
temperament. Monteverdi 's stile concitato corresponds to this affection.
The affection of pity and weeping would use slower tempi and smaller
51. "Huc infermda sunt alia Harmonise quoqu e decora. UI sun! primum verba
intervals, panicularly the minor second. Fear and pain would be ex- atl'tttuum. Laetari. Gaudere, lacrymari. timere. ejulare. f1ere. lugere, irasci. ridere,
pressed through harsher hannonies and a moderate tempo. The affec- Misereri. & : quae ipso sono & notanun variel3le Sunl t'Xprimenda & pingenda:' Nucius.
tions of presumption or audacity and admiration or astonishment are Milsices poe/lcae. G3'.
52. S f athopoeia (Bunneisler. HJPonmematllm ), below.
determined by the text and the corresponding musical expression,
53. Oieweil dann aile Liebligkeit der Music I mehrmtheils in Bewegwig der
including suitable musical-rhetorical figures. Hene1l und GcmUlher bestehet I wie seiches kurz \'omer \'on aller Modorum NalUr und
:ygells(;'hafft is! angezeigt worden I und daraup nach dcr Litnge karl gesehen werd en:
Jedoch weil ich $pUre I dap gleichwol inn einem jeden Modo oder Tono, alJerley affecten
dep Gem[llhs k6nnen exprimirt und aupgedruckel werden I als hat mkh \'o r gut
49. Maltheson. Capellmeisler. 17, 70. Mattheson continues by reminding lhe angesehen I vo n dieser Sachen etwas mehrers in specie. und insonderheit zu IraCliren
reader that the most appropriately used joyful music is directed toward the praise of God, und aulhufiihrcli. Erstlich mllssen die Verba Wid Wort I naeh welchen die moduli sollen
for we continually have great reason and opportunil)'. 10 broaden (ausbreiten) th e (jngin und angestellet seyn I wol ponderin und deroselben Nalur und Eygenst:haffi
spirilus allimoles (Ner'\,en-Geister). neissig ill aclll gC110mmen Wid betrachtet werden I als da seyn : Verba affecluum
50. Ibid .. 16, 58. bewegwlgs Worter." Herbsi. Musica poelica, til .
52 TI.e Concl'PI ofthe Affectiolls The Concept of the AffectiOlu 53

certain expressive characteristics 10 the church modes. Herbst was quick finds the true purpose of music ."" To assist the composer in "grasping
to point out that no one mode was limited to a ccrtain affection or vice the sense ufthe text," Heinichen suggested the application of rhetoric's
versa . More important is the expressive representation o f the words of loci ropici, especially in those cases where the given text contained little
a text using a variety o f musical devices. affective material . The loci ropici (discussed below) could assist in
With Kircher the musical expression of the affections became more establishing a composition's affection, whether this be rooted in the text
closely linked to rhetorical structures and devices. It was Kircher who to be set or, should it be an " uninspired" one, in the surrounding lexts. J6
introduced the rhetorical steps of inve1llio . dispositio. and elOCllf io Mattheson fin ally related virtUally every aspect of composition to the
(elaboratio, de caratia) into musical compositional theory. linking them expression of the affections. OnJy one of hi s countless references to
to text expression. He equated the musical figure s wi th their rhetorical affective text expression will suffice : "The greatest emphasi s, most
counterparts, both being used to express diverse afTections. ill addit ion. powerful expression, and exact observance of the words, that is the
Kircher was the first to consistently emphasize the expression of both sense of the words, are rooted in the affections, and can no more exist
the affections and the text in his figure defmitions, frequently providing without them as can a carriage without wheels. ,,)7
examples of both a suitable affection as well as appropri ate words for a The most important Baroque genre for portraying and arousing the
figure. Janovka not only adopted Kircher s affective understanding of affections of a text was the aria, appearing at climactic points of operas,
the musical-rhetorical figures but al so applied the li st of affecti ons oratorios, or cantatas to comment or reflect on the proceedings of the
which Kircher had used to describe the church modes now to describe libretto . Erdmann Newneister, who provided nwnerous libretti for
the figures. Mauritius Yogt also linked the expression of both the Bach's church cantatas, referred to the aria as " the soul of an opera. ""
affections and the text with the musical-rhetorical fi gures, which he The aria does not further the action in a Baroque opera but rather
calledfigurae ideates. He encouraged the composer vivid ly to paint the reflects upon it. The actor singing the aria does not seek to develo p a
images found in the text through the music , "always to make it his goal character but rather aspires to portray the temperament of the character
that the intended affection be achieved in hi s composition; and furt her- as he interacts with the various and changing situations in the pl ot. Of
more, where there are no suitable affective word s, he ought to grasp the this Alessandro Scarlatti says that "the expression of the passion with
sense of the text."" The admonition "to grasp the sense of the text" which the characters speak ... is the very most principal consideration
points to a growing concern in the eighteenth century to reflect the and circumstance for moving and leading the mind o f the listener to the
general affecti on of a composition instead o f getting caught up in diversity of sentiments that the various incidents of the plot of the drama
excessively specific or inappropriate word-painting. Heinichen was unfold."J9 111e temperament of a character is, of course, predetennined.
preoccupied with a similar concern. He also asswned a close relation-
ship between affection and text expression: " What a bottomless ocean
we still have before us merely in the expression of words and the affects 55 . lohrum David Heinichen, De,. General-Boss ill de,. Composition (Dresden.
1728), 24, as translated in George Buelow, 'The 'Loci ropiei" and Affect in Late
in music. And how delighted is our ear, if we perceive in a well-written
Baroque Music, Music Review 27 ( 1966), 162.
church composition or other music how a skilled composer has at- 56. See p.78. below.
tempted here and there to move the emotions of an audience through his 57. 'Der grtlsseste Nachdruck, slarcke Gedancken. Wld die genauesle Beohachtung
refined and text-related musical expression, and in thi s way successfully der Wane. d.i. des in den Worten steckenden Verstandes rilhrenja urspriinglich von den
~emUths-Bewcgungen und Leidenschafften her, lind ktlnnen eben so wenig ohlle
dleselbe bestehen. als tin Wagen ohne Rider." Capeffmei$ler, 146.
58. Darnmann, MlJsikbegriff, 264.
59. Mafia Fabbri , Alessandro Scar/alii e iI Principe Ferdinanda de Medici
(Florence, 196 1). 73 ; cited in Claude Palisca, Baroque Mlls ic (Engle"..ood Cliffs:
54. Sec p.128, n.89. below. Prentice Hall. 1981), 236f.
,. The Concept of the "'ffee/ions 1ne COllcepl oflhe Affections
"
and would remain unchanged throughout the plot. The sudden changes focus on that. rather than on the individual words: not that the words
in the plot resulted in the character being plunged into frequentl y should be completely disregarded. but rather that those words which
contrasting passions. Not a subjective. personal response, but an contradicl the affection should not be singularly expressed.''') On the
objective , universally valid reaction to a situation detennined the othe r hand, a situation in the plot may allow various responses by the
resulting affection, "so that a character at any given moment of expres character or indeed present contrasting or even opposing perspectives,
sia n [was] for the time being simply the incamation of a certain state of frequent ly resulting in the use of the musical-rhetorical figure
mind and feeling .,,60 The coincidence of the two force s, the changing all/i("e!is.'~ In certain situations, the contrasting affections suggested by
extentai situations and the constant temperament afthe character would the text could influence the overa ll fonn of the aria . In such cases, the
delennine a whole spectnun of affections endured by the character central B section of a da capo aria might renect on me action from a
throughout the story . He becomes the mirror of the human being as an different perspective as the A section. thereby portraying antithetic
actor on the "world stage,..61 Thus an aria represented the consequence affections. In nwnerous Bach call1ata arias the contrast is rooted in a
of the character's temperament coupled with a particular situation in the theologically derived parallelism frequentl y highlighting the difference
plot, resulting in a highly stylized presentation of the single resulting between a worldly. existential view and a heavenly, eschatological
affec tion. TIle reigning affection guaranteed musical Wlity of the aria, perspective .65 In such cases the second secti on can be exegetical in
thereby thwarting any dynamic musical or character development. It was naturc. interpreting and commenting on the primary, human reaction.
a rational fabrication of affection-typical unity, based on a single The rhetorical process is thus combined with a theological and musical
rhetorically derived nucleus. "The complete picture of the character is interpretation.
to be obtained by the synthesis of all these expressive moments rather In sununary, the concept of the affecti ons remained authoritative
than, as in modem drama, by the analysis of a complex of moods throughout the Baroque era. determining virtuall y every aspect of
expressed in a single aria or scene.'>62 The Baroque inclination to control music(ll composition. Rather than simply representing the affections
the natural force s by means of an overarching and uni fying fonn, which fOlUld in the text, the Baroque composer sought to arouse and move the
is also renected in contemporary architectural or garden design, resulted listener through music portraying and arousing the affections. The text
in the static da capo aria impervious to any demands of dramatic and its affection replaced the I1II111erIiS as music's subject, while the
realism. listener replaced the text as the object of music. An artful and craftful
The sixteenth-century compositional technique of episodic concate- representation of the affections in the music could cause an involuntary
nation exemplified in the contrapuntal motet was replaced by a homoge- and corresponding emotional state in the listener. Both the theories of
neous structure based on a single rhetorical-textual idea and musical the IllI/1/erllS as well as the teac hing of the temperaments explained this
device representing the one, single affection. In his Praecepra, Walther
slates that "when an affection is to be expressed. the composer should
63. "Wenn aber eilte GemUths-Regun" zu eXprimi r\:TI ist. soil der Componisl mehr
auf diesclbe. a1s auf die eilllzein Worte seht.'ll. nicllt zwar. dall er dieselbcn insonderheit
gar lIicht achten dorffie, sondelll, dap er nUT die Worte. welchc der Gerniiths-Regung zu
60. Donald J. Grout. A Short History o/Opera, 2nd ed. (New York: Columbia wieder sind. nicht absonderlich e)(primiren solle." J'mecejJla. 158.
Unh'crsity Press, (965). 159. M. Fur example. in Bach's "[joyously awnit my death" (\Jwv 82, l ch Iii/he [{fllllg),
61. TIle concept of Renaissance and Baroque drama (and opera) as a representation the rh)1hrnic vitality expr~ses joy, while the C-minor tona lity and other devi ces reflect
of the (IIrillrum mUlld; is a well-known phenomenon . When Shakespeare pronounces death and ~orrow. See also Ami,hesls. below.
th at " All the world's a stage .. .'. (As YOII Like It. 11,7). he reinforces the belief not only 65 . In the aria "Es ist vollbracht" from his S I 101m Passion. Bach pits the opening
that th e individual is part of a cosmic drama but that this macrocosm is microcosmicall y pathos-laden lament OVCT" Jesus's death against the jubilant outburst over Christ's victory
leflected 01\ stage. OVer Satan !II the B section. Doth are equally legitimate responses to Christ's act of self-
62. Grout. Opertt, 159. of1"er;ng.
'6

process. In addition to harmonic and rhetorical principles, rhythm and

meter were also used to express the desired affections. While the
affective purpose of music remained constant throughout the era, the
PRINCIPLES OF RHETORIC IN
foundations for expressing the affections underwent a fundamenta l GERMAN BAROQUE MUSIC
change. Gennan musical thought was detennined by the authority of the
theological.mathematicai concept of music throughout the seventeenth SO wt """Sl cOllclwt Ihal Ihtrt I.! only lillit dijft rtnce In/wun mzuic alld Iht naturt
0/ oroliOf1 Joachim Bumleisler ( 1601)
centwy, culminating in such speculative writings as those o f Andreas
Werckmeister. However, encroaching eighteenth-century EnHghterunent ... IInlillhe arl of /IIltsic has altainlffi sllch a height in allr own do),. Ihat it may illdted
thought fundamentally altered the orientation of the prevailing concept bt compared to a rhttoric. in ,"it' afthe multitudt offiguru .
Christoph Bernhard (late seveDteenth century)
of music toward an empirical, natural aesthetic . Toward the end of the
Baroque era, the dogmatic methods of explaining and portraying the For tht figurts are themse/~'f!S a langllage oft"t affections. Johann Scheibe ( 1745)
affections were found increasingly unnatural and artificial. Enlighten-
ment composers found the restrictions of such theologically infonned
and scientifically detennined music far too oppressive; Enlightenment
listeners preferred personal. subjective expressiveness and a pervading
presence of the emotional utterance of the individual. An era with a
T he humani sts' renewed interest in the linguistic disciplines during
the Renaissance was to have a profound effect on virtually all
aspects o f academic and artistic endeavor Ihroughout Europe. Common
radically altered philosophy of music was ushered in. to all European Renaissance and Baroque music traditions was the
growing emphasis on musicallext expression and general references to
the relati onship between music and rhetoric. Unique to the Gennan
musica poerica tradition was its thorough and systematic development
of a secondary "musical rhetoric" corresponding to the contemporary
lingui stic rhetorical discipline. I Fundamental to this concept was the
attempt to identi fy and define existing musical phenomena and devices

I. Brian Vickers's attempt to denounce a Baroque " musical rheloric' ("Figures of

RhetoriCIFigures of MusicT' Rhttorica , 2, I [1984], 1-44) must be dismissed for various
reasons. Besides being riddled with musical misunderstandings and inaccuracies
Vickers's argument refuses to allow the transfer of rhetorical methods 10 nonlinguisti~
dUciplines: but rhetoric is inalienably about communication. and CaD only use words.
IDd meanings" (p.44). However. as George Kennedy points out. "the application of
theories of rheioric outside of the field of oral expression was nOllimited to literature"
(Classical Rhtfol"lc and its ChristiaN and Secular Tradition / rom ANcient to Modern
Timts [Chapel Hill: University of North Carolina Press. 1980J, 2IS).ln addition to its
adaptation by the musical discipline. rhetoric was also influential in painting (Kennedy.
p.215). While Ihis may be inconsistenl with classical rhetorical concepts. the existence
of thi s development cannot be repudiated. In order to discover the significan ce of a
cenain era's music, the musicologist must assume an unprej udiced historical per
spective. Only Ihrough its unique, theologically informed, and rhetorically permeated
character can the essence ofGennan Baroque music be discovered and explained. To
understand mlls,,a pOI!tica one must accept its own tenets and language.
'8 Principles of Rhetoric Principles oj Rhelo,.ir: '9
with Icnllinoiogy borrowed from rhetoric. It would be misleading to GERMANY A ND [TALY:
explain these developments by maintaining that mllsicQ p oetica sought CONTRASTIN G PIIlLOSOPHIES OF M USIC
out rhetorical methods and devices and then constructed analogous
musical foons. The Gennan musician's primary point of departure was (talian Bawque music was modeled after the art of oratory rather than
an existing musical expression or fonn which was to be analyzed 10 Ihe di scipline of rhclOric. lts goal was to imitate the actor rather than the
identify ils components, making it available for both pedagogical and pla)"night. the orator rather than the rhetorician, reflecting a long-
artistic purposes. Both musica poetica and rhetoric aspired to an standing Platoni c misl rust of rhetoric . Dramatic gesture and pathos-
emphatic and affective form of expression through the artfu1 application laden deliwry "as to supply the necessary inspiration for musical
of their respective techniques. In addition, both disciplines approached invention.) The Italian rejection o f music's numerological and cosmo-
their respective subjects objectively and analytically. The one element logical significance in favor of its direct affective and aesthetic effect
which musica poetica lacked was a tenninology which could articulate led to a fonn o f musical expression which focuse d on a modem aesthetic
its intent and methods. With common didactic methods, expressive principle of expressing and stioing the affections rather than explaining
purposes, and related positions in the Lateinschuie curriculum, the the text. Although the text was central to musical composition, it
"rhetorization" of musica poetica was an inevitability. became the springbo3rd for musica l expression rather than the object of
The increased significance placed on language and the lingui stic Ihe composition. TIle expressive musical devices which characterize the
disciplines by contemporary humanist scholars resulted in a growing Italian III/ave mllsiche were developed with an aesthetic rather than
influence of rhetorical concepts on musical thought. The Lutheran exegetic principle in mind. Instead of introducing an intermediate level
emphasis on the Word as a means of revelation, education. and o flingui stic and theologica l signifi cance to the musical phenomena as
proselytization reflects the humanist influences on Prote stant thought" was done in Lutheran Gennany, the Italians sought to speak directly and
and also points to the didactic functi on of music associated with a text. immediately to the senses. Thus Monteverdi' s Or/eo, a paragon of
Both music and word were to teach; both stood in the service of pro- Italian Baroque music. celebrates the power of music over physical and
claiming the Christian Gospel. In addition to facilitating a synthesis of spiritual forces. While the composi tional phenomena and devices may
11I11sica specuialiva and musica praclica, as well as encouraging an appear analogous to IIl11sica poelica's musical-rhetorical figures as
ethico-theological interpretation of the concept of the affections, Lu- defined by Gennan theorists, Italian writers and composers were not as
ther's theology of music prepared the way for the unique and thorough
Gennan adaptation of rhetorical principles and procedures, including a
systematic development of the concept of musical-rhetorical figure s.
3. " Whe n they [the musicians) go for their amusemen t to the tragedies and
comedies that the mummers act, lel them ... be so good as to observe, when one quiet
gentleman speak s with another, in what nlln ner he speaks. how high or low his voice
is pitched. with what volume of sowld, with what sort of accents and gestures, and with
what rapidity or slovlllcss his words are uttered ... . Let them observe the prince when
he chanccs to be cOll versing wi th one of his subjects and vassals; when with the
petitioner who is entreating his favour; how the man infuriated or excited speaks; the
married woman. the gi rl. thc mere child. Ihe clever harlot. the lover speaking to his
2. A widely read rhetori c text in the Renaissance, Rudolphus Agricola's De mistress as he seeks to persuade her to grant his wishes. the lllan who laments. the one
Dialeclica /m'err/ ione (1479), which contended that "the first and proper objective of \Iho cri e~ Oll!. the timid mall. I'Ind the man exuilal1l with joy. From these va riations of
speech is to teach," was very influential in the writings of the Protestant leader and CI ~CUmstance .. , they will be able to select the noml of what is filling for the expression
friend of Luther Philipp Melanchthon, who developed the curriculum for the Lutheran 01 any other conception whatever that can call for their handling." Vicenw GalileL
LUleinsc/wfen (Kennedy, Clrusicaf Rhetoric, 208f). See also Wi tfried Bamer, iJru/ogn dl.(/a IIIII.nca mlfir;,j e deffa m(J(lcma (Florence. 1581 ); cited in Strunk. Source
Barockrhe/orilc (T{lbingen: Niemeyer. 1970), 260. /(eading5 . J 18 .
60 Principles of Me/ode Principles of Rhetoric 61

interested in a linguistic articulation of naming and defining these lion. and movement accordingly.'06
musical devices. (The art of Italian vocal or French inSlnUllental In Engl and there were also references to a correlation between
ornamentation, o n the other hand, was developed much more thor music and rhetoric without the subsequent development of a systemati c
Qughly, owing to the Italian emphasis on delivery, on actio or concept o f musical-rhetorical figures . In his music treatise Charles
pronunciatio, the last of the rhetorical structural steps and the one most Butler ment ioned four "Graces or Ornaments: Consecution. Syncope,
important to the actor.) The spokesperson for the Florentine Camerata. Fuga. and Fonnaliti," describing the proper progression ("consccurion")
Vicenzo Galilei. who decried the Aristotelian-scholastic emphasi s on of the interval s. the use of the suspensions, and the fugue , as well as the
learned rhetoric,4 recommended to composers that they observe human arrangemenl of a composition using these devices and cadences.1 Even
behavior, thereby empirically acquiring the methods for the musical though he quoted Calvisius 's reference to a composition's exordium and
portrayal of the affections. This precluded the discussion of a systematic finis,! he did not elaborate on the musical-rhetorical implications as was
application of rhetorical compositional techniques. Natural, affection- done by Bunneister and his foll owers. The remaining English musical-
directed speech and its delivery rather than studied, rhetorical theory rhetorical references occurred primarily in rhetorical rather than musical
was to be the compositional model. Only toward the end of the Gennan treatises,9 Furthermore, they referred predominantly to technical fuga l
Baroque did this approach make inroads into Gennan musical thought, devices o f repetition. While English rhetoricians continued to use
championed by writers such as Manheson. Scheibe, and Forkel. Al - rhetorical tenninology in their discussions of the rhetorical figures of
though Mattheson and Forkel insisted that musical truth lay primarily repetition, no conscious effort was made by music theorists to adopt
in natura, they no netheless reconunended a rhetorically structured si milar terminology. Instead, terms such as reply, revert, report, and
approach to musical composition. However, while Mattheson leaned coumerchallge of points were employed. The similarity between the
more toward mus;ca poetica's artistic concepts, Forkel 's thoughts musical devices and the rhetorical figures was then emphasized by the
sprang from the context o f a post-Baroque (Enlightenment) aesthetic . rhetoricians instead of the musicians. Francis Bacon summed this up in
The situation in France corresponded to the Italian Baroque musi c his conunent: "The reports and fugues have an agreement with the
aesthetic. While rhetoric seems to have been even more significant in
French Baroque music, there is no evidence o f the development of a
systematic concept o f musical-rhetorical figures. in spite o f a promising
beginning by Anonymous of Besan~on . ' Like the Italians, the French a
6. Tra itt de f'Harmonie riduite ses Principe.s naturels (Paris, 1722; trans. Ph.
looked to the actor or orator for musicahhetorical inspiration. In the Gossen, N.ew York: Dover, 1971), 156. Although Leslie E. BrO"ll ("Oratorical Thought
words of Rameau, "a good musician should surrender himself to all the and ~he 1ragMie Iyrique: A Consideration of Musical-Rhetorical Figures," CQllege
MIlS/C. S~'mp()Sillm 20 [19801. 99) makes a number of helpful references to the role of
characters he wishes to portray. Like a ski llful actor he should take the rh~nc In Fren ch Baroque nlusic, the identification oflhe exp~ssive musical devices
place of the speaker, believe him self to be at the location where the ~hich were employed by French composen; as musicalrhetorical figures ~mains ques-
different events he wishes to depict occur, and participate in these ~1OQa~e. While the identified devices undeniably coincide with numerous expressions
rdentified as musica lrhetorical figures by German wrilers, they we~ never referred to
events as do those most involved in them. He must declaim the text well, as .such by French writers. Although a contemporary German musician, upon encotln-
at least to himself, and he must feel when and to what degree the voice termg the French music, may have defined the musical phenomena as musical.rhetorical
should rise or fall, so that he may shape hi s melody , hannony, modul a- figures, the lack of any such French references would seem to suggest that neither the
French composer nor his audience would have junlped 10 the same conclusion.
I 7. Charles Butler. The pn'ncip/es ofmusik (London. 1636). 57. The Ireatise is
argely based on Seth Calvisius's ExercitatiOfles Musicoe Dr/oe (Leipzig, 1600).
8. BUller. Principles. 86 .
4. Dammann, M/Isikbegriff. 107. 153ff. . 9, For a discussion of this phenomenon. see Gregory Butler. " Music and Rhetoric
5. Gregory Butler. " Fugue and Rhetoric." JOllrnal of Mm ic Them,. 2 1 ( 1977). 53. ill Early Seventeenth-Century English Sources," Musical Quarterly 66 (1980). 53.
62 Principles of Rhetoric Prjllciple.~ (If Rhc/olic 63

figures in rhetoric of repetition and traduction."'o Furthermore, as in association between music and rhetoric in the context of the Latein-
France and italy. there seems to have been linle attempt made systemati ~ schu/ell. Lutheran musica l exegesis led to the text- and affection-
cally to link the rhetorical figures and devices with text- and affection_ portraying IIIlIsica poetica, combining the di sciplines of music and
expressive musical composition during the seventeenth and eighteenth rhetoric more explicitly and systematically than any other European
centuries. There was no English advocate of "musical preaching" music tradit ion. Only on Gennan soil did the theological. historical , and
comparable to the Lutheran Kantor, the driving force behind the practi cal prereq uisites for the development of such a musical rhetoric
development of mllsica poerica. English Protestantism was fundamen_ exist.
tally Calvinistic. a theology which rejected all fonns of elaborate church The Gennan mlls;clIS poeticils first sought to analyze and define his
music. While orthodox Calvinism allowed unaccompanied, unison linguistic source and then construct a parallel musical strucrure. instead
congregational singing in worship, it frowned on the liturgical use of of aspiring to draw directly on the source of the affection. The text was
choral polyphonic music, which was associated with "popery" in to be depicted and explained . reflecled upon and taught. This process
England. The tone for Anglican church music was set by the "author" included a search for analogies between text and music, frequently
of the Book of Conunon Prayer, Thomas Cranmer, chaplain to Henry invo lving complicated and at times obscure exegetical devices. A
VIlI and Archbishop of Canterbury (1533). In a letter to Henry VIIl divinely ordered universe would guarantee the possibility of rationally
regarding a translation of the Great Litany, Cranmer suggested that "the explaining not only the mathematical and affection-arousing aspects of
song that should be made thereunto would not be full of notes, but, as musical th~ o ry but al so Ihe rhetorical-linguistic principles of musical
near as may be, for every syllable a note, so that it may be sung dis- c.omposi ti on. In prescribing that a composition be "arranged in order and
tinctly and devoutly." " The Calvinist view of music as a humanistic proportion," Matthesonjuxtaposed theological and rhetorical ternlinol-
recreational endeavor stood in sharp contrast to the Lutheran divinely ogy: the rhetorical "arrangement" (Eil/l'ichtIlJlg~dispositio) ofa com-
ordered and ordained concept of music. Thriving in the historical positi on is to reflect the order and proportion of the created universe.'2
The Italians. in contrast to Gemlan writers, put less emphasis on
theoretical and theo logical considerations. concentrating primarily on
10. Francis Bacon. S)'/I'a Syfl'arum: or. a naJurall histarie, in ten centuries (london the effect of music. ll Only the execution of the speech, the final two
1621), 38. 60.
II . Suunk. SOl/ree Ikodings, 35) . Similar directi ves to specific cathedrals aboun d steps in the rhetorical process of oration (memoria and pronuntialio or
in the sil{tcenth century. In an injunction to the dean and chapter at YOfk Minster in actio). were to be influential in music. Gesrure and declamation were to
1552 it was lIottd: "We will and conunand that there be none other note sung or used be of prime consideration. not structure and fonn.
in the said church al any service there to be had. saving square note plain, so that ev~
syllable may be plainly and distinctly pronoWlced, and without any reportS or repeatings
The Lutheran application of the traditional pedagogical method of
which may induce any obscureness to the hearers" (peter Ie Huray. Music and Ihe praeceptulI1. exempilim. el imitatio (learning the rules, studying exam.
Reformalioll ill Ellgiand J549~ 1660. Cambridge: Cambridge University Press, 1 9~8 . pies. and imitating established masters) reinforced the continued
25). During the Eliz.abethan period. similar strict controls were placed on church muSIC.
l\S is evidenced in the ban of contrapuntal music in Winchester Cathedral in 1511 : " Item.
perception of musical composition as a craft rather than an aesthetic
that in the choir no more shall be used in song that shall drown any word or syllable, or
draw out in length or shorten any word or syllable. otherwise than by the nature of th e
word it is pronounced in common speech, whereby the sentence cannOI be well 12. See p,35. n .12. above.
perceived by the hearers. And also the often reports or repeating of notes with words or 13. The Itillian emphasis, characterized by its empirical approach, is in part
sentences. whereby the sense may be hindertd in the hearer mall not be used." Jbid .. 38 . enCOuraged by a quasi-magicat understanding of the power of music, parallel to a similar
The one oasis or contrapuntal church music during this era was the Chapel Royal. understand ing of the power of oration to stir Ihe affections. tn his Raliollalis
"which obstinately refustd to be bound by the restrictions urged upon so many other PhiloSophlC/e "ars fer/la, Campanella devotes chapler I I to De oraloris inslrllmento
centres of church musk" (Eric Routley, A Shorf History of English Ch urch Music, magico. And l\'lonteverdi, the son of a physician. also oonccr11ed himself with alchemy.
London: Mowbrays. 1917 ,23). Dammann. "flUllcbegriJ!. 160.
64 Principles of Rhetoric Principles 0/ Rhe/oric 65

undertaking. While the Italians highlighted "heavenly inspiration" rbelOricians were able to do."n With the rise of Christianity, scholars
(celeste injlllsso et inclinatiolle),'4 and argued that a composer must be and writers of the Church adopted the classical rhetorical discipline
a born composer, the Germans emphasized the teachable and learnabl e from their Roman teachers who, in tum. had fully embraced Greek
skill of composition. In hi s Musica Poetica, Andreas Herbst " 'TOle : "JuSt theol)' and practice. The art of public speaking lost its prominence in tbe
as a builder or carpenter leaves a house or other building to posterity. so Middle Ages. While medieval rhetoricians focused on the art of compos-
too and in like manner can a mus;clIs poelicus or composer bequeath 10 ing letters or official documents, the clergy cultivated rhetoric in the
following generations a musical composition which he constructed with literary genre of the homily or sermon. Rhetoric, championed by tbe
great diligence, toil, and industry, thereby ensuring the abiding remem- humanists along with all other classical disciplines, experienced a
brance or his name ." 's In accounting for his musical accompli shmcniS. revival in the Renaissance, "and came to pervade all areas of civiliza-
1. S. Bach commented, "I had to work hard; anyone who is as industri- tion. as it had not been the case during the preceding centuries .... For
ous, can achieve the same level. ,,16 Bach's comment was not made the studia Illlmanilatis included granunar and poetry. history and moral
simply out of bashful modesty but rather reflects the conviction that the philosophy, as well as rhetoric . As a humanist enterprise, rhetoric was
craft of musical composition can indeed be learnt. That which was thus closely connected with all these other subjects, and the rhetoric of
captured instinctively in the south was analytically unraveled, tennino- the humanists must be Wlderstood as an integral part of their widespread
logically objectified, and systematically taught in the north. interests and activities."I!

THE DISCIPLINE OF RHETORIC RHETORIC IN THE LATEINSCHULE CURRICULUM

The ancient and distinguished discipline of rhetoric, the art o f eloquent Through the Lutheran school refonns pioneered by Luther's hwnanisti-
speech, originated in the fifth century S.c. as an oral skill used by cally inclined associate, Philipp Melanchthon, the discipline of rhetoric
lawyers and statesmen . Athenian rhetoricians and philosophers gradu- received high priority in the parochial LaleilJSchulen, schools which
aUy produced systems of rules and regulations which were taught at the vinually all German Lutheran musicians would have attended. 19 The
various schools and academies. With the rise of epideictic oralion. fri\lium, which included rhetoric, fonned the core of the cWTiculum both
which focused on rhetorical display, philosophers became wary of the at the Laleillschu/en and the universities. Indeed, Kalliors teaching at
discipline . From Plato to Aristotle, philosophers "either rejec t rhetoric Lateinschulen frequently fOWld themselves teaching both music and
altogether, or they treat it as a subordinate part of philosophy, claiming Latin. which included grammar and rhetoric . This was also the case with
to treat the subject wilh greater competence than the pro fe ssional Joachim Bwmeister, the author of the first musica peeNca treatise which
systematically combined the disciplines of music and rhetoric. All
c.o urse instruction was conducted in Latin. Furthermore, all conversa-
14. Ibid .. 113 . tion, whether in the classroom or on the playground, was to be in Latin.
!.S. "Dann gleich wie ein Werckmeister oder Zimmennann I ein Haul} oder SOflsten
ein Gebliw I SO von ihme verfeMiget I hinter ihm vert lis!: Also auch und der gestalt kan
ihme ein Musicus PoetiCU5 oder Com ponist I ein dergleichen Musicalisches Wercklein
I welches er mit grossem fleip I milll und arbeit I durch di ete kllnst zusammen gebracht 17. Paul Oskar Kristeller, Renaissallce 7'h arlghl alld lis Saurces (New York:
I zu seines Nameru immerwlirendem Gedachtnup den Nachktlm)ingen hinderlassen." COIU111 bia Un iversity Press, 1970), 219.
Herbst, Musica poetica, I. 18. Ibid., 242f.
16. " lch habe fleipig sein mlissen; wer ebenso fleipi g ist, der wird es ebe:nso we it B 19. For all excellent and exhausti ve study of rhetoric in the Baroque, see Barner,
bringen ktlnnen." C ited in Danunann, MU$ikbegriff. 11 3. arodrhelarrk, especially 241- 32 1.
66 Principlu of Rhtlorlc Principles of Rhetol'ic 67

(A llhough the exclusive concentration on Latin abated throughout the rhetorical ;nvellfio offers a long li st of loci topid or "subject areas,"
seventeenth century, it was not until the eighteenth century that the including topics dealing with names, definitions. antecedent or subse-
vernacular replaced Latin as the language of rhetoric .) Introductory quent causes, effects. comparisons. and contrasts. 21 lbrough the dispo-
rhetoric was amy taught in the fmal one or two years of school, after the s;(io or arrangement and development of the subject maUer, the oration
students had thoroughly mastered Latin grammar and syntax. The is usually subdivided into six segments: exordium (introduction),
weekly curriculum of the advanced students included eight hours of lIarrafio (factual aCcoWlt), propositio (the proposed argument or point
Latin, three hours of dialectic (logic), two hours of rhetoric, and 1\\'0 to be made), confirmatio (supporting arguments). con/lltatia (rebuttals),
hours of Cicero. In addition to other subjects, provision was also made and peroratia or conc/llsia (concluding comments). Regarding eJocu/io,
for further private tutoring in rhetoric. The student was taught to prepare ils stylisti, expectations are summed up in the fOllr virtutes eloclitionis :
a given topic either in oral or written form according to the examples of correct syntax (puri/as. lalinitas), clarity (perspiclIitru) , figurative
classical authors. To this end the students used various textbooks which language (omallls), and suitability offonn to COlllent (aplllm , decorum).
presented the general rhetorical concepts and techniques of the classical It is in this third "virtue," omalus, that the rhetorical figure s and tropes
authors (Aristotle, Cicero. Quintilian) in a condensed form. Lossius. find their home. Tropes are understood as metaphoric expressions, while
who was BtUllleister's teacher, simplified the texts by Melanchthon and figures are described as deviations from the nonnal choice, order, or
Erasmus for his own use. Rules ofrhetoric were defined with examples stnlClure of words and sentences. It is above all these figures of speech,
rrom classical writings, providing material which the students could which serve to embellish. amplify. and vividly portray the thoughts, that
emulate. Classica l authors were not read for their literary content but were considered the most useful tools in presenting and arousing the
rather to detennine linguistic rules. Like all other disciplines including affections. The last two structural steps. memoria and actio or
Latin grammar and music, the subject of rhetoric was taught through prommciatio, deal with memorizing the oration and polishing the
praecepw11I, exempillm, et imilatio. 20 de livery. adding gestures and proper inflections. Because these two
steps have little to do with the fonnulation of a properly ordered sennon
or speech. they received only minor attenti on in the Gennan context.
RHETORICAL STRUCTURE Vossius. who V;TOte one of the most wide ly read rhetorical textbooks in
Germany, foc used on inventio in books I and 2. on disposilio in book 3,
The process of rhetorical structuring traditionally comprises five steps: and on elocutio in books 4 and 5, appending only two short chapters on
illvemio, dispositio, eloclltio, memoria, and actio or pronllnciatio. Whi le memorization and delivery at the end of book S.n The preponderance of
invemio concerns itself with determining the subject and gathering the first three rhetorical steps in Gennan rhetoric was also reflected in
pertinent infonnation. dispos itio focuses on logically arranging the the mus ica poetica tradition. The Gennan context encouraged an
material. The third step, eloclltio, translates the various jdeas and emphasis on orderly and eloquent construction rather than on dramatic
thoughts into words and sentences, adding any necessary devices which de livery. Illvemio's loci topici, the secti onal dispositio, and e!ocutio's
would give the argument greater emphasis. The last two steps deal with rhetori cal figure s, rather than the rhetorical steps concerning delivery
memorization and delivery. The first three steps each receive further and perfonnance, were to detennine 11Iusica poetica's concepts and
consideration according to the topic ' s generalities or ideas (res) and to
the particulars and words (verba). To assist in finding a suitable theme .
. 21.ln his DergriJnenJlIgend nolhwend;ge Ged(l1lcki!n (Lei pzig, 1676). Ch ristian
Weise eX3!l\ined ty,.etve lod topic;, summarized in Unger. Be:;iehllngen , 4.
22. For 3 detailed discussion of Voss iuss COlllmemarlQrlml RheloriC'orunr (Leiden.
20. See also Mimesis, below, for an explicalion of imito/io. 1606 ). sc:c: Barner. Burockrhe/oril. 265ff.
68 P"i/1ciple~' of Rhetoric Principles of Rhetoric 69

structures. The composer sought to emulate the rhetorician rather than embellishing devices,u
the actor. with the composition replicating an orderly rhetorical con Quintilian's teachings on the rhetorical figures are indisputa.bly the
struction rather than mimicking an inspired theatrical presentation. O1ost significant and influential writings on the subject. remaining
Although there were minor variations in the number and presentation of authoritative throughout the medieval. Renaissance, and Baroque eras.
the rhetorical structures. they can be summari7..ed as foll ows: In books 8 and 9 of his Ins tilulio oratoria Quintilian discussed the
Iropes and figures at great length, explaining that while tropes and
a) ["venrio. including the loci topic; figures are used for the same purpose. namely "to add force and chann"
b) Disposi/io 10 me oration,24 the two types of embellishments should not be confused.
i) exordium While a trope is "the expressive alteration of a word or phrase from its
ii) narratio proper meaning to anolher,,,lj he described a figure as "a conformation
iii) propositio (divisio) of our speech altered from the common and obvious usage ... . A figure
iv) cOflfirmatio is therefore a new and artful manner of speeth. "u; While the trope lends
v) con/walia (rejutatio) novel content to familiar language, the figure uses novel language
vi) perorario (conelusio) COtL'itruclion. The various literal nuances of meaning ofjigura asforma
c) /oclilio (Decoratio) and imago become evident in Quintilian's rhetorical use of the term. The
the four virtutes eloclltionis: tenn was used in reference to any " fonn " of verbal expression, as well
i) purUas, latil1itas as to an intentionally altered use of language from the ordinary and
ii) perspicu;tus simple fonn. 21 Through this alteration (mulalio) the verbal expression
iii) amalus. including rhetorical figures and tropes is used to denote a deviating or illusory meaning, thereby being an
iv) aptum, decorum implicit imago of that which is not explicitly stated. lbis rhetorical
d) Memoria understanding of figura would later be transferred to music, as the
e) Actio, Prolllmciatio musical figure through its unique structure becomes an expression of
beth the image (imago) of the text and the source (forma) of the in-
tended affection.
THE RHETORICAL FIGURE The traditional classification of the figures into two groups, sentence

The Latin teonfigura is rooted in the verbfingere (to form or shape)

and refers to a "modeled fabrication." Whilefigllra originally meant 23. Erich Auerbach. ''Figura.'' GtSommelle Auftar..e XlIr romanischen Philologie
simply "shape" or " fonn," it later referred to the image of the original (Bern: Franke, 1967), 55.
. ~4: " . .. usus quoque est idem: n8m et vim rebus adiiciunt et gratiam praestant."
shape or form . Thus the tenn assumed the meaning of both an image or
QUlntillan, /nstilulio oratorio ed. and trails. by H. E. Butler (London: Heinemann
reOection of an object as well as an independent structure or conception . In l~mi~M9. '
Greek rhetorical tenninoiogy used the tenn schemata to designate both 23 . "Tropus est verbi vel sermoni! a propria significatione in a1iam cum virtute
mutatio." Jbid., VllI.vi. 1. 30t.
rhetorical styles as well as the specific forms of expressive elaboration.
26. "Figura ... conformatio quaedam oralionis remota a communi et primum se
This term was then translated into Latin as figura by Cicero (b. 106 Be). ,offerenle rarione.... Ergo figura sit ane aliqua novala forma dicendi." Ibid., IX.i.4, 14
using it to designate certain rhetorical styles, and later by Fabius 'O.3M '
Quintilian (b. ca. AD. 35) in his instillitio oratoria. with reference to the ~7 . "Nam doobus modis dicitur: uno qualiscunque forma sententiae .... altern, quo
pr~pne schema dicilur. in sensu vel sermone aliqua a vulgari et simplici specie cum
ratione mUlatio." Ibid . IX.i. IO, II, 352.
70 Principles of Rhe/oric 71

figure s and word figures , was also observed by Quintilian.lI Words or jigllrae 1erbon/lll. or figurae sememiae by Quintilian. Just as Quintilian
phrases co uld be altered or repeated in various ways with the intent of had done. Susellbrotus cl assified the rhetorical figures into word and
lending the oration greater power and chann. for ''there is no more sentence figures. additionally including Quintilian 's methods of amplifi-
effective method o f exciting the emotions than an apt use of figures."l9 cati on as a third cl ass of figure s. forming the categories of figurae
Ho wever, the specific figure was not to be confused with the affection dictiolllllll./ig lirae Ora(iOIlIlI1l, andfigllrae ampl!/icationis.
to be expressed. While rage, pity, pain, fear, and other affections can be Accord ing to Suscnbrotus. the purpose o f the figures was to '''relieve
expressed through the figures, they are not figures themselves. Quin. tbe irritation of C\CI) day and worn-out language. to lend the oration
til ian went to considerable length to clarify this point, citing long greater delight. d igni ty. and elegance, to add greater force and chann to
passages of Cicero's Orator and De Oralore. ln addition to the tropes our subject. and fin all) to forti fy our \\Titing or speaking in an unusual
and figures. Quintilian also listed four kinds of amplification. including manner:j} A signi fica nt aesthetic rather than functional reorientation
j"cr emefllunI or auxesis, comparario, rOliocinatio. and congeries. These concerning the purpose of the rhetorical fi gures can be observed in
amplifieationes are closely related to various figure s, resulting in their Susenbrotus's definition. Quintil ian' s concept of the figures was entirely
incorporation into the lists of figures by subsequent writers. rooted in their classical function, namcly to move and convince an
The Renaissance was marked not only by the humanistically audience. be it (he senate or a publi c crowd. through a heightened and
inspired reappearance of many classical sources and texts but also by a enlivened [om1 of orati on. Thi s utilitarian purpose was replaced by a
surge in contemporary texts on rhetoric. A widely circulated collection primarily aesth etic and artistic one : to lend the oration greater delight
of figure s and tropes is found in the Epitome by Johannes Susenbrorus. 'o and dignity. lorce and charm. Moreover. thanks to centuries of medieval
Susenbrotus defmed a rhetorical embellishment, including both figures rhetori c. it was nol only the spoken but also the \VTitten language which
and tropes, as "a deviation from the simple or normal fonn of speech."]1 benefi tted from thi s uncommon expressiveness. Eloquently intensified
Figura was defined as an artful and novel fonn or manner of writing or compositi on rather than convincing political oration characterized the
speaking.12 Susenbrotus then distinguished between grammatical and Renaissance purpose o f the rhetorical figure s. Wilh thi s altered concept
rhetorical figures. The grammatical figures were concerned with of the fi gures and o f rhetori c in general. the groWldwork had been
orthographic alterations to a word and syntactic changes to a sentence. prepared for music's adoption o f rhetorical principles and techniques.
A number of hi s syntactic figures had been defined as either tropes, The philosophical CUlTenlS o f Ihe seventeenth and eighteenth
centuries spa\\lled certain rcfonns and revisions in the rhetoric curricu-
lum of the Lutheran LOfC'illschuien. significantly influencing the Wlder-
standing of the rhetorical figures. With neo-Platonic thOUght replacing
28. " Inter plurimos enim. quod sciam, consensum est duas eius esse partes.
6 Ia \lo(al;. id est mentis \lei sensus vel sententiarum, et ). ~EWI; . id eSI vC1'boru m vel Ari stotelianisll1. emphasis began to be pl aced more on natural, affective
dictionis vet elocutioni! \leI sermonis \lei orationis; nam et varialur et nihil refert." Ibid . expre s~ io n than on calculated composition. Influenced by a rising
IX.LI7,356.
national identity and il call for an intuitive naturalness, the Gennan
29. Ibid., IX.i.21. 358.
30. Johannes Susenbrorus. Epitome troporum ac schema/um e/ gramma/lcarum el language began 10 repl ace Latin. Rhetorical figures were not to be
".hetOl"lIm (Antwerp. 1566). Henry Peacham the Elder (1546-1634) based his influential
The Garden of Eloqllence (London, 1593), also a collection ofthetorical figures and
tropes. on Susenbrotus's Epitome.
31 . "Figura est ratio quaedam. qua de recto at simplici loquendi gtntre cum aliqua . 33 . ". . ut quotidi ani ac protriti sennonis fastidium le \ltnt, UI orationem aUI
dicendi virtule deflectitur." Epitome. 6. HK:undiorem. aut gra\'iorem, aUI elcgantiorem effi ciant, ut vim rebus adiiciant el gratiam
32, "Schema vel fig\ll1l. proprie, est aliqua novata et scribendi et dicendi fonna. Vel praestent, et nos de niquc II \'ul gari . tl1m scribeodi 111111 dicendi gtnere munianl.' Ibid.,
est quaedam ane novala, tum scribendi tum dictndi ralio." Ibid. Susenbn)tus uses the 49 .. ~~ ph r~se "ut \i111 rebus adiiciant tt grntiam praestCIlt" had already been used by
lenns figura. schemata. oralianis lumina, exornatio, lUld color intC1'changeably. QUlllllhan to descri he the purpose of the figu res ( IX.i .2).
72 Principles vj Rhetoric Principles of Rhetoric 73

sought in ancient textbooks but rather in the inspired natural speech of with rhetoric and specifically the figures since antiquity, only in the late
the Gennan citizen. The most significant Gennan late Baroque rhetori_ Baroque was Ihis elc\ aled to the figures ' primary purpose. While
cian, Johann Christoph Gottsched (1700- 1766), published numerous QUilltilian regarded the figures as a means to convince an audience, and
influential ,works on this subject. including his AlIsfiihrliche Redekflllsr SusenbrotuS focused on their decorative role in speech and literature,
and Versuch einer Critischen Dichtlamst. both texts Wldergoing multiple Gotlsched sought t(l hase his concept of the figures entirely on their
editions and printings. Gottschcd also classified the figures into figurae atfecti\'e nature : md potenti al. A similar process can also be observed in
dic(ion;s and senrenliarllnl, of which "the fomlcr are not all of equal the developl1ll!!\l of the musical concept ofthe figures .
value, for most of them are nothing but empty wordplay which produce
nothing but a childish clatter and contain no fire o f an affection ."H
Gottsched's concept of the rhetorical figures rests entirely on their TOWARD A R flETORlC AL MUSfCA POETfCA
capacity to express the affections: "One could even say, they are the
language of the passions. Everyone who is possessed by a certain General comparisons ha\'e been drawn bern'een music and rhetoric since
affection will naturally and involuntarily invent figures, for no one can antiquity. Whil e Roman \\Titers emphasized the usefulness of musical
express their affection without figures."n Gottsched further compared knowledge fo r the oralor.17 rhetoric was increasingly regarded as the
the figures to facial expressions, which, like language, are external model for musicians as early as the sixteenth century. Just as it was the
reflections of internal activities or emotions. Furthermore , like the intent of rhetoric \0 assist ill captivating and convincing an audience, so
actions of the swordsman. figures could be used to startle, distress, too did it become expected of music that it should express the sentiment
delight, enrage, and elicit approval from an audience. The figure s thus of the text in order to increase its effect on the listener. lbis could be
assumed a dual purpose: like facial expressions or the work of a painter. accompl ished through a musical reflection of the text 's syntax, meter.
they could be used to portray the reigning affection; and like the and st ructure. as we ll as tluough a vivid representation of the text 's
combative endeavors of the fencer, they could arouse various affections images. affections. and ideas. As music adopted rhetoric's goals and
in the listener. In his Critische DichtJrunst, the work which formed the intentions. namely \0 encourage audience involvement through the
basis of Johann Scheibe's concept of the musicalrhetorical figures. portrayal and arousal of appropriate affections in order ultimately to
Gottsched maintained that "the entire power of an oration is rooted in rno\'e and effect them. it is not surprising that references emphasizing a
the figures, for they possess a certain fire , and through their magic throw similar approach to composition are frequently encountered in music
a spark into the heart of the reader or listener, and similarly set them
aflame.,,16 Although the arousal of the affections had been associated
Versuch em!'r "//Ircne" D'chfkmlSf, 4th ed. (Leipzig. 1751 ). 314.
37. In hiS /nSflfllf/Q or(l/nno (i. 165-177), Quintilian stressed lhe importance of an
34. " Die Figuren sind zweyerley. nemlich Didionis und Sententiarum: dj. orator' s know ledge of music: .. It is by the raising, lowering. or inflection of the \'oi
entweder in einzelnen WorteJl. oder in ganzen Slitzen , Die ersten sind nicht alle von th~t the ot<lIor Stirs the emotions of his hearen. Further. the motion of the body must be
gieichem Werthe. denn die meisten darunter siZld nichts, als kahie Wonspieie. die nichts. SWtable and becommg or. as the Greeks call it. eurhythmic, and this can only be secured
als ein kindisches Geklapper in den Ohren machen. aber kein Feuer eines AlTectes in by thesmdy of lIlusic, This is a most important department of eloquence. Still I think I
sich halten:' Johann Christoph Gottsched, AlIsfiinrlicne Redektmsf (Leipzig, 1736). 276. ought to be more emphatic than I have been in stating that the music which I desire to
35. "Man kl:innte kUrzer sagen, sie waren die Sprache der Leidenschaften: Weil alle see taught is not Ollr modem Illusic. No, I refer to the music of old which Wall employed
Menschen, die im Affecte sind, von Natur, und ohne daran zu denken, Figuren machen; ~ ~ing the praises of brave men and was sung by the brave themselves. Give me the
und niemand seinen Affect ohne Figuren recht ausdrOcken kan." Ibid . 273 . o....:ledge of the principles of music, which have power to excite or assuage the
36. ''Die ganze Stltrke einer Rede zeigt sich darinn. wei! sie ein gewisses Feuer in ~otlon s of mankind" Cited 1ll George Buelow. "Teaching Seventeenth.Century
sich enthalten, welches auch den lesem oder ZuhlSrem. durch eine geheime Kunst. Mon ~ePts or M usical roml and Expression: An Aspect of Baroque Music." College
Fwtken ins Herz wirft, Wid sie gleichcrge:slah entzOndet:' Johann Christoph Gonsched. I<.I/e Sympn,JlIIIJI 27 f I (IS 7). 9
74 Princip/I!JI of Rhetoric Principle.r ()f Rheloric 75

treatises. While references to the corresponding goals of music and growing humanist interest in the classics and the increased significance
rhetoric are fOWld in italian, English. and French treatises, the develop_ of practical music -making in the parochial schools, the place of music
ment of a systematic musical rhetoric is limited primarily to Germany. in the liberal arts lIndcl"\wnt an important change: while fill/sica specu-
Italian \\!filers restricted their suggested guidelines to matters concerning tarim began to disappear from curricula. the appl ied musical discipline
correct text underlay, an appropriate musical realization of the textual was promored to a position comparable to the linguistic arts, becoming
structure, and general admonitions regarding the agreement between the part of the core curricululll of the Lutheran Lareinschufen. Rhetoric
sentiment of the music to that of the text.l! In Germany. on the other would prodde a paradigm for its sister discipline. music. In accordance
hand, references to the relationship between rhetoric and music became with Luther's teal"ilings. music itself was regarded as a heightened form
much more specific and detailed, developed and taught appropriately in of speech, becoming a rhetorical semlOn in sound. Through the Larein-
the context of the Laleinschuie curriculwn. schute curriculum. rhetorical tenninology and methodology was already
The musica poetica tradition did not attempt to establish a new familiar to students and teachers alike, expediting the musical adaptation
musical order, as did the Italian seconda prattica, but rather fuse d of rhetorical tcnninology and concepts. In adopting ancient and distin-
quadrivial and trivial, mathematical and linguistic definitions and guished rhetorical temlinology and methods, the art of musical composi-
concepts of music into a musical order which served specific Lutheran tion was giYcn both a greater legitimacy and a clearly established
needs instead of general aesthetic principles. Through the introduction rationale and objec tive.
of Lutheran liturgical practices, greater emphasis was placed on congre- Throughout the sixteenth century. numerous authors referred to
gational involvement, which was realized musically primarily through rhetorical methods and techniques in their discussions of musical
the many new Lutheran chorales. Luther's theology of music also composition. While some explained musical tenns in rhetorical lan-
encouraged the inclusion of polyphonic choral music in the liturgy, with guage, others assigned rhetorical tenninology to musical deviceso: as
the choral leadership in the churches provided by the various parochial early as 1536 Stomius referred to fugue as mimesis ; Galliculus (1538)
school choirs. Music was thereby given a greatly increased significance spoke of schemata variorum colorum ("tigures of varying adornment")
in both the liturgy and in the church's school curriculum. Simulta- without, however. identif)'ing any specific figures41 ; rhetorical figures
neously, the role and position of the Kantor , who directed the church used by grammarians were compared to various notational signs by
choirs and taught music at the schools. also rose in stature. It was to be Heyden (1540) and to musical ornamentation by Holthauser ( 1551). In
the Lutheran Kantor who would determine the direction of German discussing pauscs, Dressler ( 1563) used pronounced rhetorical language:
Baroque music, culminating in the work of J. S. Bach.J9 With the they were to be used for rea!>Qns of etegantiae et suavitatis; at times, all
the voices might pause because of emphasin as well as the meaning of

38. Zarlino, lnstitu/ioni 4, ch.32, 33.

39. The vast majority of Gennan Baroque music treatises were penned by (tet alone (he sophisticated and "modem" Italians and French), who learnt, knew, and
practicing church musicians, most of them Lutheran Kantors. Attempts have been made taught Ihe craft of music, r("gMded by a colleague and Leipzig professor of rhetoric. 1.
to devalue Gennan Baroque music as provincial and secondary to contemporary French A. Birnbaum. as a greal "1l1usical omlor."
and Italian musical developmen{s (esp. Suzanne Clercx, "Le 'Baroque' Musical," Les 40. For a comprehensive lisl of sixteenth-century rhetorical references in musical
Colloques de Wegimont 4 [Paris, 1963]. and Arno Forchen, "Musik und Rhetorik im treatises. including Ih o:: olles menlioned here, see Ruhnk e. Bllrmeister, 135-38 . As the
Barock," Schiitz Jahrbuch 7-8 (1985-86). 8). However, the undeniably progressive presenl study focuses on Ihe musical-rhetorical figures. only those references to
Italian and French influences on German music have little bearing on the discussion of metorica[ figures aro:: listcd here.
a uniquely German musical rhetoric. To be modem does not necessarily mean to be 4\. The fact that Gallicllius uses both {he terms schemata ({he Greek (enn fo r
better. It is, after all, the Lutheran Lateinschule tradition which produced one of the rhetorical figllrl'S, otherwise nOI encountered in contemporary music theory) and
greatest musicians of Western music. 10hann Sebastian Bach, Leipzig Kant ar of third Co/arllm, traditionally also associated with the rhetorical figures. makes it almost cenain
choice, provincial and outdated in the eyes of his sons and other Gennan contemporaries Ihat he was referring to rhetorical figures in music. See also Unger, Beziehllngen, 32.
76 Principles of Rhetoric Pri/1cip/~s of Rhetoric 77

the words; he highlighted Clemens non Papa 's use of suspensions, the writings of Maltheson. particularly in Der vollkommene Capell
cadence , and fugue as three outstanding omamenti. Hoffmann ( 1582) meisler. While the concept of the musicalrhetorical figures of the
referred to the transgression of a mode 's range as redlllldalllia and musical elocutio had taken firm root by the eighteenth century, Mat
ellipsis . Following these and other musicalrhetorical references by theson introduced the complete rhetorical structuring process to musical
various German writers, the Lutheran Kantor and teacher Joachim composition and with it the various particulars oftha! process, including
Burmei ster provided a detailed and systematic approach to musical all of inventio's loci lopici and the six steps of the dispositio.
composition which enshrined rhetorical terminology and methodology
in the German musica poetica tradition at the beginning of the seven
teenth century. Burmeister's efforts have been characterized as "the M USICAL-RHETORICAL INVENTIO
most significant consequence of combining music and rhetoric :'~l
profoundly influencing German compositional theory throughout the The first step in the rhetorical structuring process is inventio: detennin
Baroque era. ing a topi c or subject. Although Kircher had introduced the concept of
a musicalrhetorical inwntio, he limited its application to the musical
representation of the associated text. According to Kircher, the com
BAROQUE MUSICAL-RHETORICAL STRUCTURE poser first chooses a theme or subject whose material is to become the
basis and fOWldatioll for the represented and evoked aife<:tion. 44 Second,
References to rhetorically arranged music became more specific the key for the compositi on is chosen, again in consideration of the
throughout the seventeenth century. Parallel to musica poetico's gradual desired affection. Third. the composer decides upon the meter and
adoption of the concept and terminology of the rhetorical figures was its rhythm for the composition, taking both text and its affection into
acceptance of rhetoric 's structuring principles. Athanasius Kircher was consideration . Thi s must all be done before the actual work of composi
the first to introduce the terms of the rhetorical structuring process, tion (dispositio) can begin. l he "invention" of subject, key, and rhythm
invenlio, disposilio, and eJocutio into musical compositional theory. should be Wldertaken in such a way that the intended affection is
preparing the way for a more explicit correlation between music and establi shed. Thro ughout the seventeenth century, composers were
rhetoric . All three steps in this process were linked to text expression: provided with lists of words of motion, place. affection, time, number,
while inventio refers to an appropriate musical adaptation of the carre etc., which they were encouraged to "express and paint,''''S The musical
sponding text, the dispositio concerns itself with an "appropriate and expression of a word was frequently accomplished through the use of
pleasant" musical expression of the words. The musical eJoclilio then musical . rhetorical '~,pof):posisfigures, devices through which " the
embellishes the entire composition through the use of tropes and meaning of the \\lords arc enlightened in such a way, that they seem to
figure s.) This Wlion between music and rhetoric was consummated in spring to life."~6 With invelllio thus linked to textexpression, this first
step of the rhetorical process was directly linked to the third step,

42. Eggebrecht. "Ober Bachs geschichtlichen Ort," 270.

43. "Ubi Rhetorica tribus constat partibus. invemione. disposilione el eloculione, 44. Ibid., ch.3. De locomm /emporisqlle cons/i/II/ione ad affec/lls conci/andos
ila et nostra Muswgica Rhetorica: Inventio Musurgicae Rhetoricae nihil a!iud est, quam ordinal/do. Dammann . Musilrbegdff, 314.
apIa Musarithmorum verbis congruorum adaptatio; Dispositio vern est pu1chra quaedam 45 . " ... quae ipso sono f.'t nOIMlIn varietate sunt exprimenda et pingenda." Nucius.
eorundem per aplas nOlarum applicationes expressio. Elocutio denique est ipsa M/I$ices poetica ... G3'.
Melothesiae onmibus numeris absolutae, tropis figurisque exomatae per cantum 46. See l~lpo/ypn$l.f (B urmeister. MI/sica poe/iea). below. H}poI}pru is devices,
exhibitio." Athanasius Kircher. Musllrgia IIniversa/is sive Ars Magna ConSQn; et limited only by the composer'S imagination. include figures such as anabasis, calabasis,
Dissan; (Rome. 1650) II. loS. ch.S. 4: "De Partibus Rhetoricae MU$urgica," 143. and circlilatiu.
78 Principles of Rhetoric Principles of Rhelo1'ic 79

eloculio or decoratio, which traditionally concerned itself with the inventions."so A composer could use the principle of the rhetorical loci
rhetorical figures.~1 topici and examine the texts surrounding the one which was to be set to
The flourishing genre of seventeenth-century instrumental music Ulusic. Out of the context of preceding (al1lecedentia), parallel
brought with it an expansion of the text-oriented concept of the musical (concOmifal1fia). or subsequent (collSequentia) texts, the composer
inventio. Particularly fruitful in thi s regard was the incorporation of the would be able to establish a suitable affection for even the "uninspired"
phan/asia technique, "used to refer to certain short, mechanical contra- text. Not only could such an application of the loci topici furnish the
puntal patterns, so called because they were the product of the com- composer with ideas for his composition, but it would also discourage
poser's or player's imagination.'>4S The correlation of inventio and a preoccupation \vith particular words which might be contrary to the
phan/asia is demonstrated by Mauritius Vogt when he gave the title "De governing affection. 5 1 While Heinichen focused only on the locus
Phanlasia et Inventionibus" to the sixth chapter of his compositional circlilnstamiarulll, Mattheson suggested that all loci topici be explored
treatise. 49 for their musical potentiaL Mattheson began his chapter on melodic
With the rise of instrumental music and the growing concern invention , ..ith a discussion of melodic motives which might be used in
regarding unity of affection, early-eighteenth-century composers were structuring the melody. ~ 2 Although he mentioned that a composer might
encouraged to make use of the loci topici in writing their music. By "make a collection of all the pleasing motives which he has encountered,
transferring the rhetoricalloei topiei to musical composition, Heinichen order thcm according to chapter and title, and when the need arises,
proposed that the composer might "derive a good idea from the given gather counsel and consolation from them," he assured the reader that
(and frequently unfruitful) text. But to lead our imagination, cannot, I this would result in ragged patchwork. 51 Rather, the motives are to be
believe, be better accomplished than through the oratorical loci topici. kept in mind so that the composer can express himself comfortably
Even with the most uninspired text one can take just the three principal "without constantly consulting a Lexicon for counsel. "~4 Mattheson
sources, namely antecedentia. concomitantia, and consequentia textus, devoted the rest of the chapter to a discussion of the musical application
and examine them according to the locus /opicus by weighing carefully of the loci topici. Even the locus exemplorum, which he interpreted as
the purpose of the words, including the related circumstances of person, an imitation of other composers, can prove beneficial. However, even
time, place, etc. Thus the inborn natural imagination ... never lacks for if this is Ihe most frequently used source, the composer must take care
the expression of valuable ideas or, to speak more clearly, skillful that he nOI silllply copy or steal another's work but "return it with
interest. That is. one must arrange the borrowed materials in such a v.ay,
that they assume a more beautiful and improved expression than in their
original contcxt. ... EYen the greatest capitalists will borrow money if
47. See Unger, Beziehungen. 35ff.
48. Gregory Butler, "The Fanlasia as Musical Image," Musical Quarterly 60, 4 it is to their advantage or convenie nce. "~'
(1974).6 14. The Baroque composi tional process was an objective one, In
49 . Mauritius Vogt, Conclal'e thesauri magnae arlis musicae (Prague. 1719). III
a glossary at the beginning of the treatise, Vogt provides the following definition:
"Phantasia. simplex & ordinatus processus sonorum, ex quibus variae fugae, themata,
& pausgio eliciuntur" (Cone/ave, 6). In addition to ilJustrating how a simple chord 50. Heinichen. De,. Generaf-Bass, 30, as translated in Buelow, "The 'Loci Topici'
progression can be expanded into a longer passage, Vogt also includes some and Affect in Late Baroque Music," 162f.
unconventional suggestions for musical invention. The composer might drop four 51. If. for example. the composer were setting a lext such as "death is swallowed
hobnails bent in various shapes representing dilIerentfigurae simplices, and then notate up in victory:' he would focus on a joyful affection instead of the word "death."'
musical figurations imitating the patterns of the nails. Furthennore, the composer may 52. Capel/meisler, pt.2 . ehA, "Von der melodischen Erfindung," 121.
want 10 use dice in detennining the intervals to be used, or even resort to alcohol: "Et 53. Ibid .. 123 .
ut sim aptior ad inveniendum et componendum . . . generosi vitrellum vini non 54. Ibid .. 17.
abjiciam:' Ibid .. 157. 55. Ibid .. 131-32.
80 Pdnciplcr of Rhetoric Principles of Rhetoric 81

contrast to the subjecti ve and individualistic one of later eras. The of the djspositio. to expla in fugal structure .SI
adaptation of a preexi sting idea and the invention of a new theme were It remained for Matthcson to systematically apply all of the rhetori~
equally considered a part of the inventio process. The necessity of a cal dispositio steps to musical composition. now no longer appl ied
personal and subjective experience as an inspired source for composi. primarily to the fugu e. ~o The exordillm introduces the compositi on,
tion was foreign to the Baroque mind. AU irrational. inde fin ite, or arousing the audience 's attention and preparing them for that whic h is
inaccessible musical thought was considered unworthy. T hi s applied as to follow. This might take the foml o f a prelude to a fugue or, as
much to il1venlio as to the other structural steps. The composition wa s Praetorius indicated. an opening ritom ello in an aria or concerto. 60 The
conceived of and structured by rational principles of fonn and expres- narratio advances the intention or nature of the composition. This can
sion common to composer and audience alike. Thematic or subject be realized through Ihe entry of the vocal part in an aria or the solo
m aterial was in the public domain, common to all composers and in strument(s) in a concerto . Just as the narratio is optional in rhetoric
comprehensible to all listeners. Whether or not a composer's disposit ion (it is omi!led in the chria). it can be incorporated by the propositio in a
or "m ood" coincided with the desired affection of a compositi on was musical composition . Besides being identified with the presentation o f
immaterial: the composer was obligated to set a certain text to music (or a fugal theme, the proposilio is assigned the function of presenting the
provide instrumental music for a certain occasion) and looked to the act ual content and purpose of the compositi on. The following two
given, objective material or situation for the predetermined affection . sections. confirmalio and con/utatio, can be considered as contrasting
For the mlisiclis poetjclls such a rationally conceived and percei ved processes with the same ultimate purpose: to strengthen the proposition
composition would portray and arouse the desired affections called for by either confirming the argument or by refuting or resolving any
by the text , always with the intention of glorifying God and edifying the objections to it. bl While the cOlljirmafjo employs varied and artful
listener. repetitions to reinforce the proposirio, the con/ulalio makes use of
suspensions. chromaticism, or contrasting passages which, when
properly resolved, strengthen the original theme. 62 Finally, the pero"a~
M US ICAL-RHETORICALDISPOSITIO

58. " Oenn eille Fugmlm :w trad iren. muss ich die anificia so wool aus der Oratoria.
The first musical reference which renects the steps of the rhetorical
als bey dem Stylo mod emo. nehmen .... Denn Dux ist Propositio: Comes Aetiologia.
dispositio can be found in Gallus Dressler' s description of the exordium. OpposilUlU ist in versio va ria Fug ae: ... Confirmatio wlite wenn ich das subjeclum
medium, and finiS of a composition.S6 Burmeister, who also espoused caJOnisire; und Conclusio. wen n ich das subject gegen die Cadenze, in Imi t8tione, liber
eine n313m fimlam hOren lassen: ' Butler, "Fugue and Rhet oric," 67, 69. Butler's study
this tripartite organization, referred to the central section as " the body
provides a most enJigluening discussion of the rhetorical structure and interpretation of
of the composition itself.,,51 The dispositio order became a detemlining Baroque fugal composition, focusing primaril y 011 the steps of the disposilio.
factor specifically in fugue composition. TIle opening statement of the 59. The details of the (/isposilio are di scussed in Copel/meisler. pt.2, ch.14: "Von
fugal theme was referred to as "fa proposilio/Je della/llge" by Angel o dc:r Melodien Einridnung. AUS 3rbeit ung und Zierde," 235ft". II is also primari ly in this
dtapter that Manheson deal s with the musicalrhetorical figures. domain of the rhetorical
Berardi in 1690, a thOUght which is echoed by Dresden Capellmeistcr elocli/io.
Johann Christoph Schmidt in a letter to Johann Mattheson in 1718. As 60. Praeto rius .. ~I"frl(lgm(j MU.fic um 1/1, 1.51.
Butler point s out , Schmidt used the rhetorical chria, a simplified form 61. Frequently linked together under th e term comentio. these steps seem to be
reversible or altemMing in a composition, explaining Mattheson 's different ordering of
the two in chapter 14. 4 and 10- 11. G . BUl ler, "Fugue 311d Rhetoric." 70.
62. G. Butler lists a num be r of musical-rhetorical fi gures which are associated with
56. RUhnke. Burmeisler. 137. these sections, incl uding t'oll~l!,.ies (specifically mentioned by BurmeistCl"), incremellillm
57. " Haec Ires habel partes. 1. Exordium. 2. Ipsum corpu s cRrminis, 3. Finis." lIu
(( e.sis) . climax (gr<l(/(lliQ). d isl,.,bulio. confirmatio. hypalloge. antistrophe. alltimela_
Bumleister, Musica poet;ca, ch. I .5: "De Analys i sh'e di spositiane carminis musici," 72. bole. amilhesis (colIl,.aposilum; . paronamasia, II/1d Schemalaides. Ibid., 79- 97.
82 Principles oj Rhetoric Principles 0/ Rhetoric 83

(/0,the conclusion of the composition, is to end the composItion The Aristotelian notion that phenomena must be terminologically
emphatically. This may include a repetition of the opening exordium or identi fied and defined ill order to be understood and taught encouraged
ritomello. It may also make use of an elaborated pedat point, a device the dc\'ciopmcnl of this concept of the musical figures . Only in naming
which is given the various names of paragoge, manubrium, or sup_ the devices employed hy past masters o f vocal polyphony could their
plemenwm. The climax as defined by Nucius and Thuringus may also music be understood and explained. In order to accomplish this and
have been understood as a cadentiat figure. in which "we are diligent to 111ake the art of composition an accessible craft to the student, it was
detain the li stener who eagerly awaits the end.'t61 necessary fo r the teacher to make these musical phenomena available for
instruction. analysis. and composition. Through the concentrated
emphasis on the linguistic discipl ines in the Lateinschulen, rhetorical
MUSICAL ELOCUTIO: terminology was familiar and accessible to all students. The desire to
THE MUSICAL-RHETORICAL FIGURES id\!ntify preexi sting musical phenomena with familiar but newly defmed
rhetorical terminology was explicitly affinned by Bunneister, thereby
The relationship between music and rhetoric was most frequentl y and opening up a new world of analytical possibilities.
concretely articulated through the concept of the musicalrhetorical The concept of the ll1usicalrhetorica l figures developed from an
figures. Although the musical and linguistic figures use contrasting early Baroque omatlls ori ented understanding, in which figures were
expressive language unique to their respective discipline and medium, dc fined as aheml1iolls fro m the si mple or traditional compositional
they agree in expressive principle, a phenomenon made possible through norms, primari ly for the sake o f variety, interest, and color, to a late
their common affective goal. 64 In the same way that an orator was to Baroque. 1I1O\'ere-oricnted understanding in which the figures were
ornament and heighten his speech through rhetorical figures to lend it de fined as the primary agents for presenting and arousing the affections.
greater persuasive effect. so too could the composer portray and arouse A corresponding devel opment of the rhetorical figures can be observed
the affections through comparable musical figures. And just as the in the Gemlan Baroque. llle rhetoric textbooks of the late seventeenth
rhetorical eloclltio availed itself of figures of speech and thought, century were becoming increasingly cursory, reflecting the decline of
musica poetica would cultivate a concept of musical figure s. Music the Latin rhetorica l trad iti on and its classica l sources of rhetorical fig-
thereby adapted one of rhetoric' s most emphatic devices, beginning ures. On the other hand, the growing popularization of Gennan rhetoric
within a Renaissance aesthetic based on text expression and evolving based on nat ura l specch by authors such as Chri stian Weise, Menantes,
throughout the Baroque era into a concept based on the expression and and Gottsehed resulted in texts which increasingly emphasized rheto-
arousal of the affections in the listener. ric's role in direc tl y moving the li stener.65 This led to a more affecti ve
rather than omamentallUlderstanding of the figures. Rhetoric developed
from an acadcmic Latin di scipline to a fonn of psychological examina-
63 . See also Climax, below, especially Nucius and Thuringus.
tion orthe relation ship bel\veen the Gennanlanguage and the affections.
64. The conflicts between the two disciplines which Vickers wishes to identify are Consequently the rhetorica l figure s beca me understood not so much as
the result of a misinterpretation both of musica poerica' s intentions and of the majority consciously applied artistic devices but as intuitive expressions found
of literature dealing with the musical phenomenon. Vickers maintains that "all
111 natural speech. Such chnnges and developments in the rhetorical Fig-
discussions of music and rhetoric assume that notes in music behave in lhe same way as
do words in language" ("Figures of Rhetoric." 27). Upon closer examination of the IIrenlehre correspond 10 sim ilar developments in the discipline of music.
sources, it becomes quite clear that music and rhetoric in the Baroque were assigned a
common purpose, namel y lo express and arouse the affections, allowing the two
disciplines to employ similar methods and strategies. without, however, the notes and
the words behaving " in the same way." 65. Forchert. "i\lusik Ilnd Rhetorik." 16.
84 Principles Qf RheltH'ic Principles of RlIeloric 85

THE DEVELOPM ENT OF A M USICAL FIGURENLEHRE the affections, thi s was not the primary concern of the early-
seventeenth-century concepts of the figures. These early FigllrenlehrelJ
The large number of music treatises which are in one way o r another were developed by musicians who thought, \\TOte, and composed in the
indebted to Burmeister's Figllrenlehre (Eggebrecht speaks of seventeen style and context of six teenth-century imitative counterpoint.
different authors producing twenty-seven treatisesf.&) attests to the wide Throughout the sevenleenth century, text-oriented modem Italian
support and general acceptance of this rhetorical approach to music. musical styles became increasingly popular in Gennan circles, further
Upon closer examination of the many different treatises, it becomes encouraging the expression of the affections and the adaptation of
apparent that the development of the musica l-rhetorical figures was rhetorical principles in musical composition. Nucius and Thuringus
anything but unifonn. As Buelow points oul. "there are numerous linked the musical figW'es to their rhetorical counterparts much more
conflicts in terminology and definition among the various writers, and consciously than Burmeister had done, as evidenced in their classifica-
there is clearly no one systematic Doctrine of Musical Figures for tion afthe purely musicalfigurae principales and the musical-rhetorical
Baroque and later music, notwithstanding frequent references to such a jig/lrae minus principales. While the early Figurenlehren referred only
system by Schweitzer. Kretzscrnnar, Schering. Bukofzer and o ther s." ~? periodically or indirectly to the figures' powers to evoke the affections,
Not on.1y are there discrepancies between early- and late-Baroque thi s function became increasingly important throughout the century.
Figurenlehren, but there are also substantial differences between Alhanasius Kircher, borrowing heavily from earlier German writers but
authors of the same generation. 611 While some writers viewed the figures also strongly influenced by the Italians, combined the theoretically
primarily as a legitimization of dissonance, others regarded their main motivated Gennan concept with the empirically motivated Italian
function as the expression of the text and the affections. approach. This resulted in an increased emphasis on the portrayal of the
In spite of the substantial differences between the various conccpts affections. Christoph Bernhard's concept of musical-rhetorical figure s
of the musical-rhetorical figures, certain fundamental elements arc rests not so much on the concern to introduce affective and rhetorical
common to all Figllrenlehre". A musical-rhetorical figure was generally language and methods into the musical realm as it does on his efforts to
regarded as an artful and expressive musical device which digressed bring together Italian praxis-oriented stylistic concepts with Gennan
from either the simple, unadorned musical idiom or the established rules contrapuntal ism. This led to a Figurenlehre which concerns itself with
of counterpoint. The sixteenth century contributed both the first explaining seconda prattica dissonances in the context of stylus gravis
musical-rhetorical tenninology as well as the musical sources for the rules of counterpoinl.
first Figllrenlehren. These early references to figure s, including the The growing relati onship between music and rhetoric and the
writings of Burmeister, Nucius, and TIlUringus, focused on text expres increasing emphasi s on the affective nature of the musical-rhetorical
sian and omatlls in keeping with the Renaissance artistic ideal. Al- ~gures continued into the eighteenth centwy. AhIe explained the figures
though text expression was inevitably associated with the expression of III a purely rhetorical context, focusing on the literary figures found in
a composition's text. ill maintaining that these were to be musically
e.xpressed, he allowed a musical interpretation ofvirtuaUy any rhetorical
66. Eggebrecht. 'Ober Bachs geschichtlkhen On," 27. figure. With lti s lmique classification of the musical-rhetorical figures
67. George Buelow, "Rhetoric and music." Nell' Gl'ol'e JJicl iOl1(1'Y, 15 : 794 .
as figllrae ideates, Mauritius Vogt stressed that they should vividly
68 . The term Figllrelliehre is not used here 10 refer to a Baroque "Doctrine of
Figures" as has hem done in past scholarship. but rather only 10 the individual authors' POrtray not only the affection but the " idea" of a composition's text .
concepts of the figures. As the discussion of the authors of the various Figllrelllehrell in Johann Gottfried Walther collected tenns and defmitions of the musical-
the second pan of this study will deal with the individual concepts of the musical
rh.etorieal figure s from various sources in his Lexicon, covering diverse
rhetorical figures. it will not be necessary to elaborate on the developments in great
detail at this point. F'gllt'enlehrel1 based on contrapuntal omatus (Thuringus), expression
86 Pn"nciples of Rhetoric Pl"inciples of Rhe/oric 87

of affections (Kircher, Janovka), ornamentatio n (Printz), dissonance USe Although he had high praise for a musical rhetoric, his tenninology
(Bernhard), and rhetorical figures (Ahle). Manheson, like Able. al so betrays a concept of music which was foreign to musica poetica.
turned to the rhetorical figure s as hi s source for the musical deVices. Individual iz..1tion. subjectivity, and feeling replaced the authoritative,
regarding the musical figure s as virtually identical to their rhetorical objective. and affection-driven Baroque concept of music. Not insignifi-
counterparts. Furthennore, through his insistence that musicians ought cantl y. Forkel's di sc ussion of the figures no longer takes place in the
to tum to natura instead of scienIia fo r their musical inspiration, context of a composi tional treatise or music dictionary but in the
Mattheson introduced a subjective and empirical element into hi s foreword to a hi slOry of music.
concept of the musical-rhetorical figures, which corresponded to parallel The musical-rhetorical figure s developed out o f a need to identi fy
developments in contemporary German rhetoric. and derme cxpressh"e musical devices which were perceived to be more
Scheibe related his Figurenlehre more closely to a rhetorical or less analogous to the rhetorical fi gures. The varying degrees of
concept o f the figures than any previous author had done, directly commonality between the musical and the rhetorical devices resulted in
modeling his discussion of the musical-rhetorical figures on Gottsched's varying levels of overlap between their definitions. The tenninology
Versuch einer Critischen Dichtkunst. Like Gottsched, he insisted that chosen to identify the musical devices was either adopted from rhetoric
the figures were the very language of the affections. Both the literary or newly coined to emulate a rhetorical term . The definitions which
and the musical expressive devices grow out of a common affection, the descri bed the rhetorical or quasi-rhetorical terminology could be
genesis of all hwnan expression. The source oCthe musical figure is no tmiquely musical or could be modeled on the rhetorical defmition of the
longer the text but the affection which lies at the heart of the text. Thi s teon: first, a musical figure could be a technical, non-affective device
facilitated a natural transfer of the musical-rhetorical figures to instru- with a tmique musical. non-rhetorical name (e .g., transitus). Second, it
mental music, away from a primary focus on text-expressive vocal could be an affective device with a newly coined musical but rhetorical
music. The textual orientation, a hallmark of musica poet/ca which still sounding name. 111e choice of either a Greek or Latin term with the ring
clearly determined Ah1e's Figurenlehre and was beginning to weaken ofa rhetorical term but no rhetorical precedent is explained by the desire
in the writings of Manheson, virtually disappeared in Scheibe 's to confer greater respectability on the musical device through its newly
Figurenlehre. Forkel ' s discussion of the figures brought the musica won association wi th the rhetorical discipli ne and to establish an
poetica and its concept of musical-rhetorical figures to its conclusion.VI assoc iation wi th the other musical-rhetorical figure s. Upon closer
exam ination of the chosen tenn, a literal description of the musical
phenomenon is frequenlly found in the root of the Greek or Latin word
(e.g., helerolep.~is). Third. a figure could be an affective device with a
69. The attempt has been made by some musicologists to project the concept of the
musical-rhetorical figures onto music which would find such an approach quite foreign. newly defi ned rhetorical name. Frequently an exi sting rhetorical figure
In a series of articles, "figurentehre from Monteverdi to Wagner," Musical Times is not ip.m1ediately adaptable to the musical context, in which case the
vol. 120 ( 1979) and vol. 126 (1985). Peter Williams not only points to musicalrhetorical
familiar rhetorical tenn might be redefined with either a somewhat or a
fi gures in Baroque compositions but wishes to analogously define similar musical
devices found in nineteenth-century Romantic music. Although his study identifies the substantially altered musical definition, or even an entirely new musical
expressive use of chromaticism, rests, and ornamental figuration in music beyond the Content (e.g .. hyperbolf?). The use o f rhetorical tenns with redefined
Baroque confines, this does not legitimize the use of Baroque tenninology to explain musical content can lead to considerable confusion, especially when one
Romantic expressiveness. The absolute presuppositions of the musiea poe/ieD, complete
with its concepts of the affectioru and the figures , would have been just as abhonent to writer attempts to estab lish a rel ati onship between musical and rhetori-
Wagner's musical taste as Baroque political absolutism was offensive to Wagner's cal defini tions while another author does not. One of the most involved
political ideats. The concept and tenninology of the F iglJrenlehre only makes sense exampl es of a mixture of redefin ed rhetorical term s and newly coined
when applied to music which was conceived. composed, and perceived in a
correspond ing aesthetic framework. para-rhetorical tern1 S is found in the definiti ons of the figures o f repeti-
88 Principles of Rhetoric Prilldpll.'s of Rile tone '9

tion, ana/epanalepsis and anaJepanadiplosis .1O Finally, it might be an some of these were likewise the first fonns of mus ical ex pression." TI
affective musical rhetorical figure. with name and content being This 3e ~theti c led 10 an event ua l rejection hot h of /lllIsica poeliea' s
common to both music and rhetoric (e.g., exc/amolio). lelhodicai expressive processes and its speci fi c and calculated expres-
In summary. classical rhetoric experienced a renewed vital ity : i\'e de\ices. The natural and subjecti \'e expression o f ind iv idualistic
through the efforts of Renai ssance humanists . This growing interest in sc n t intenl~. a hallmark o f an Enlightenment Empjindsamkeit aesthetic.
the linguistic disciplines along with the "Word" orientation of Protestant nO longer allowed for a calc ulated and object ive pre sentat ion of gene r-
Gennany led to the development of a musica poerica which focused On all y accepted a ffec tions. Baroque /III/s ica poerica rhetoric. along \\'ith
a rhetorically structured, text-interpreting, and affection-arousing the concept of the musical-rhetorical fi gures. had thus become outda ted
concept of music. While rhetorical influences are evident in Ital ian. and irrele\ ant.
English, and French Baroque music, only the ml/s ica poelica tradition
developed a systematic albeit disparate concept of musical-rhetorical
figures, This was the result of the Gennan predilection to rank the
rhetorical structure o f a composition above its affective delivery. Instead
of looking to the actor or orator for inspiration and guidance. the
musicus p oeticlis turned to classical rhetorical structures. Rhetoric ' s
structuring steps, il1vemio, disposifio, and eloclIlio, provided Inllsica
poettca with the necessary framework. Inventio's loci topici, dispositio' s
methodical precepts. and elOClllio' s expressive devices, the rhetorical
figures , all familiar to Lateitlschule and wUversity students and teachers.
contributed the necessary methodology and tenninology.
While early Figurenlehren reflected an ornaills-oriented under-
standing of the musical-rhetorical figures, later authors emphasized the
figures ' potential to express and arouse the affections. The move away
from the academic classical Latin rhetoric to a vernacular German
rhetoric in the Lateinschuletl was reflected in the musical discipline
through an increased emphasis on a personal experience of the affecti on
which was to be musically presented, Gennane to thi s development was
the belief that the affection and its expressive devices were to be found
in natura rather than in the textbook. While Forkel advocated rhetorical.
affecti ve expression in musical composition, hi s presuppositions were
already quite foreign to mlls ica poetica assumptions. Rheto rical figures
" lie at the heart of human nature, and in nonnal speech they are the first
expressions familiar to the uncultivated Nalflrmellsch. ' , . No doubt,

70. See Dammann. Musikbegri./f. 141-44 . 71. Johann Nikolaus Forke!. Allgememe Ge.f<,hrchle de. /It.mk ( l .dp7.ig. 1788 \. 5~ .
P ART Tiro

TREAT ISES AND SOURCES

TREATI SES AND SOURCES

J OACHI ~ I B URM EISTER

oachim Bumlci ster (1564- 1629) was born into a musical and literale
J family in LUneburg. His four brothers all pursued artistic careers:
Anton became Kanfor at S1. Michaelis in Li.inchurg, Georg the rector lit
the Lareillscllllie. Johannes a respected poet and writer. and Franz an
organist at St. Lamberti in Uineburg. Joachim aHended the local
Ldfe;1/Scl!lIfe \\ here his teachers included the Kal110rs Christoph
Praeto r iu~ and Euricius DeMkind. Equally form ative was hi s rhetoric
instruction wldcr the vice-reclor, Lucas Lossius. whose textbooks on the
subject were to become signit1cant influenc es in Burmeister" s later
musical writings. In 1586 he began his studies at the Rostock Uni ver-
sity, where he completed a master's degree in the Faculty of Law in
1593. In addition to his post 3S K(lt/ior at Rostock's principal church, 51.
Marien, he was also a teacher at the GymnasiulII, holding both posi tions
unt il his dcuth .
Burme ister's responsibilities at the Gyml1asium included not only
musical activities but also Latin instruction for students up to the second
last school year. !-lis theoretical writi ngs are more than merely "singing
manual s, for it was his objective to regain for music its rightful place
among the sciences,'" It was Burmeister's intention to give the an of
musical composition a place alongside the other humani stic discipl ines.
He considered himself a hutlwni stically educated academic, and was
therefore interested in rai sing the protile of compositiona l theory
through the application of the distinguished disc ipline of rhetoric. "tthe
same time, however, he also stood in the tradition of the Lutheran
Kamar, with responsibilities to teach both music and Latin at the
Lateinsc!Jlffe. His familiarity with both music and rhetoric, coupled with
his responsibilities as a teacher in both discipline s, motivated him to
dC\'ise a pedagogical approach \\ hkh would combine these interests,

1. Manin Ruhnke. 'Bunneis!er." ""'ell GI"Q\'e LJK/wllary. 3: 48j .

 BurmeiSler 95

Burmeister was thus responsible for developing and systematizing an practical I) all musical devices. through whi ch they could recognize and
approach to musical analysis and composition through the application r -dersland the musical de\ ices .... In choosing these terms, we were
of rhetorical temlinology and concepts which would remain decisive for oved by nOlhing other than our sincere desire to eliminate the lack of
the remainder of the Baroque musica poelica tradition. FenninoJogy. We believe thn t through these terms and designations it
Burmeister was the first in a long line of Gennan authors to present '11 be possible to become fnmi liar with the musical material in its
a comprehensive list of expressive musical devices identified with propri ate foml. ..;
terminology adapted from the rhetorical figures. Through hi s three The vlIrious musical devices are given names which are either
publications, Hyponmematllm mllSicae poelicae (1599). Musica alllo_ rrowed rrom rhetoric or coi ned to emulate rhetorical terms. Fre-
schediastike (160 1), and Musica Poetica (1606), he introduced a quently this involves a transrer onJy of the literal meaning oflhe word
systematic concept of the musical-rhetorical figure s, building on the thcr than the rhetorical de\'ice associated with the term.l In other cases
numerous sixteenth-centW')' references to rhetorical figure s in music. It the rhetorical and musical con tents of the term coincide. Bunneister's
was his intention to identify established musical devices with rhetorical point of departure is always the musical composition and its expressive
terminology and make them objectively accessible, as the foreword to devices nuher than the rhctorical term ,,~th a search for a corresponding
his Musica autoschediastilte clearly indicates: "Upon consideration of musical e:-.:pression. In their desi re to establi sh a closer link between
the manner in which music's wonderful 'omatus' which surrounds the musi c and rhetor ic. later authors would not only redefme some of
text shines forth, I must conclude, that more comprehensive and com- Bunneistcr's terms \\lth a musical content closer to the original rhetori
plete precepts can be provided. When we study the works of the great cal meaning (e.g .. anapilora. cmadiplosis) but would also include more
masters, we will rarely fmd one which does not exemplify some notable figures which were common to both di sciplines. While he does not
device. But we are bound to record our observations and gather them for consider his lisl of ol'llamenfa exhaustive, Burmeister'S musical
future generations ... in the form of rules and regulations .... And in rhetorical figures are meant 10 provide a means 10 identify and then
careful and rational examination of music , we will undoubtedly con- apply teclmique s which cll uld be used in artful composition. To illus-
clude that there is but little difference between music and the nature of trate the application or thesc fi gures, Bunlleister cites numerous
an oration. For the great power of oratory lies not in the simple aggrega- examples frolll composers suc h as Clemens non Papa and Orlando
tion of plain words or in the correct division of phrases and their Lassus, culminating in a complete analysis of Lassus's motet, In me
unchanging and unadorned combination, but rather an oration appropri- transiel'lmf.
ates its expressiveness through its amallls and its use of significant Burmeister describes the musical figure s, or omamenta as he also
words, including the use of emphatic expressions. In like manner, in caUs thcm . with a detinit iOIl si milar to the description of the rhetorical
addition to the combination of pure consonances, music also offers the figure s. 'nlcy are hannomc or melodic e:-.:pressi ons which deviate from
li stener a mixture of perfect and imperfect consonances as well as the simplest form s of musical expression, thereby enhancing the
dissonances in a composition, thereby moving the heart . . . . This
compilation is useful both for others and ourselves; for us because il is
. 2. A larger ponion of the extensive foreword can be found in German translation
then no longer necessary to lecture as in past practice, and furthermore
Ib Ruhnk e. HUr""'isler. l-lolL which was also the source for the above translation .
instead of using the works and rules of other writers we would have our J. An interesting adaptll1i on of the rhetorical tenn s\'lIIploce occurs in Bumleister's
own establi shed forms according to which we could structure (>ur lIJ'ic-a PCX!lica. \Ihere the lenl1 signifies a mixture of r~ajor and minor semilones. (See
COItIple.liQ. ~Iow.) BlUnllO'istl'r's ddini tion has nothing in common with the rhetorical
lectures and which would guide us by the hand, as it were. Simi larl~ definiti on of the figure. but rather is a fine e<ample of his pursuit. in Olthoff's words:
these established forms would provide the listeners with termS IN 'to "gil'e evel)thillg appropriate and SUItable terminology taken from rhetoric and other
arts." Ruhnke. Hm",elSler. 147.
96 BurmeiSl er Burmeisler 97

composition in a more art fu l manner. 4 The emphas is of this defin ition out as a particularly expressive device, defined as "an apt figure to
lies on UIC omal/lS or elegall1ia func tion of the figure. Although the express the affections.-9 While Burmeister's concept of the figures does
expression of the affections is not explicitly mentioned in the defmitioll. not explicitly focus on affective expression as later Figllrenlehren will,
it is tacitly included through the use of the Icnn periodus. Burme ister the domain of movere is nonetheless integral to his understanding.
"u ses the terms period and affection interchangeably. for he defines As the definition o f poe/icwn decorum indicates. it is the composi-
musical affection (affeetio nil/sica) as ' a period in me lody or hannony tion's text which is the dctennining factor in the application of the
tenninated by a cadence that moves and affects the souls and hearts of figure s. This view is also articulated in the introductory conunents to the
men. ",' Furthermore , nlllsica poetica's roles of delectare and move/'e figure s in Mlisica Poetjca: "If the student wi shes to know when and
arc regarded as an inseparable unit. demonstrated both through where the composition is to be adorned with these figures, he is care-
Burmei ster ' s definit ions o f some of his fi gures and hi s desc ription of fully to examine the text of a composition, especially one which uses
poeticum decorum . In his Musica allfoschediastike he describes poeti- the specific orna ment. and then adorn a similar text with the same
cum decorum as a most pleasant and ornate construction. a result of the fi gure. Should he do thi s in such a manner. the text itself will prescribe
consideration and interpretation of the text.' Rhetorical eleganfia can be the rulcs." lQ
compared to thi s aspect o f the figure s. Through "elegamia the aesthetic Burmeister classifies his figures in three categories: hannonic,
expectation of the educated and fa stidious li stener was to be sati sfied. melodic, and harnlOnic-melodic figures (jigllrae harmoniae, melodiae,
while at the same time intentionally arousing specific affections. The tam harmolliae quam melodiae). His categories are modeled after the
chosen text for a composition presented the composer with the samc rhetorical classitications of the figures. Rhetoric differentiated beh'ieen
expectations .... TIle two categories cannot be separated . Most of the those figures which were applied to individual words (jigllrae dictiolJis
figure s can be explained both in tenns of elegantia and wo rd expres- or verbi) and those which pertained to the entire sentence or structure
sion, for these categories were not yet distinctly separaled.,,1 In addition (jigurae tolil(S ora/ionis. sermonis, or sententiarum). Thus Bunneister
to assuming the role of text expression, a nwnber of Burmeister's draws a parallel between <'word" and "melody" figures on the one hand,
defmitions also refer to the effect of the figure . TIle noema. for example. and "sentence" and "hannony" figures on the other. Figurae harn/oniae
"has a sweetly stimulating and astonishingly soothing effect on the ear are applied to all the voices of a composition, thereby affecting the
and spirit.'" On the other hand. the symblema minlls does not have the entire structure or harmonia, analogous to rhetorical sentence figure s. 11
power to move the listener C'IlOfl ita affici!"} because of its brevity, and The fu gal figures, fuga realis. metalepsis. hypallage, apocope, the
is therefore not cOWlted as one of the figures. The pat}lOpoeia is singled noellla and related figures, allaiepsis, mimesis, Q/1Qdiplosis, as well as

4. "Omamentum. sive Figura Inuska est tractus musicus. lam in Hannonia. quam 9. Se~ I'allr0p04?;a. bdow.
in Melodia. certa periodo. quae a Clausuta initium S1I11I1I . & in CIIIlIsulam definit. 10. " Insllper et hoc addimlls. si forte Philomusu5 sol1icitus fo ret scire. quando et
circwnscriptus. qui II simplici compositionis ratione disced it . &: cum vinute omatiorem quo loco Hamloniae flosculis hamm Figurarum sint exornandae, et quando ea
habitum assumit & indllit." Musica poe/ira. 55. adhibenda. ibi Philomu5us textum alicujus Hannoniae, cujusdam aut oris. et praesenim.
5. Pillisca. "Vt Oratoria Muska." 41 . quae alicujus ornamenti cullum et omatum induisse videtur. probe consideret.
6. "Poeticum decorum est hannoniae ultra sua\'isonnntem et hamlOnicam syntaxin arbitreturque. sibi similem textam eadem figura esse exomandum quo ille allerius
omatum ex te",tus explicandi exigelllia addens." Ruhnke, /JurmeiSler. 95. Decorum is Anificis tcxtus cst exomatus. Quodcum fecerit. te",tus ipse et prlleceptorum instarerit."
rhetoric's fourth virl1lS elocllliollis, following arnalld, that is. the app lication of the Mu~ ica paenen. 56.
rhetorical figures and tropes. 11. "Harmoniae eS1. quo periodus aliqua Hamloniae ex quoten;s ctiam ea confe<:ta
7. Ibid.. 148. sit nx:ibus. novum induit habitullI. alienum a simp1ici consonantiarum absotutarum
8. See Noema. below. nexu." lbid .. 55
98 BurmeiSler NI/C'jl/J 99

symblema. syncopa or syneresis, pleonasm/IS. auxesis, pathopoeia, on matters cOl1cerning II/lIsicC/ poeticC/o I nonetheless recognize that he
hypotyposis. aposiopesis, and anapJoce belong to this category. Ajigllra {Bunnci ster J t'!1lplo) s grammatical and oratorical terminology to
melodiae can be applied to either one or more voices but, like the word express \'aluan le mah:riu l on sca les. notation ... and the progression of
figures. does not necessarily alter the entire structure. 12 These fi gures musical c\.lIlsonann:S ,md dis<:olUltlces in a Illost learned and subtle
are nOl, however. to be understood as mere "melodic ornaments," manncr. ... I li nd his teachi ngs on the modi and the fi gures particularly
corresponding to the figurae simplices of Vogt or Printz. Burmeister anracli \e . and that in his discuss ion of the same he chooses from their
uses the leon melodia to refer to individual voices, while harmonia infinite Ilumher oilly a fc \\ simple polyphonic examples and assigns
signifies the entire strucrure. The figuresparemobole,palillogia, ciin/cu, them oratorical t e ll ni n o l og~ ."1' O lthoIT also acknowledges Bunnei ster' s
parrhesia, h)'J}erbole, and hypobole belong to this second category. To groundbreaJ.. ing work. and encourages him to persist in his pursu its:
accommodate those musical figures which he considers both melodi c "You not onl y teach composition. the syntactic rules of consonances,
and harmonic, he establishes his third category. The remaining figures, and the recogniti0n of the musical modi with the help of certain fi gures
congeries, Faux Bourdon, anaphora, and fuga imaginaria make up ami carcti.11 subdi\' isions. bUI you also give everything appropriate and
thesefigurae tam harmoniae quam melodiae. Although more than one suitable- tenll ino l o g.~ taken from rhetoric and other arts, in order to avoid
voice is affected through these figures, Burmeister does not count them any misunderstandin gs or umni guity. Although there wi ll undoubtedl y
asfigllrae harmolliae. These figures initially transform only individual be those \\ho will d i ~a ppro \ \' o f these lenns because of their novelty, I
voices through similar or identical structuring. Only through this must nonetheless eI1C () llrag~' ) (lll for the sake of the students to continue
process is the harmonia altered. Burmeister's classifications seem in your efto rts and 10 enSlU'e that these precepts be published and made
somewhat awkward at times, better suited to rhetorical than to musical a\'ailahle to all, May thi s 311 receive further research and clarification
figure s. Nucius recognizes the difficulty with Burmeister's categories through sim ilar s tudi es . " ' ~ It is qu ite unlikely that Simoni us, Olthoff, or
and develops a classification which is derived from the musical figures even BlUllleistcr could ha ve inwgined ho\\' much ,further research and
themselves and tailored to suit their specific needs. It was to be Nucius '~ clarificat ion"' the musica l-rhetorica l figures were about to receive, or
grouping of the musical-rhetorical figures which would be adopted by how many "similar studi es" on this art were to be written in the years
s ubsequent writers. Not until Mattheson is the paraliel between the to follo w.
musical-rhetorical figures and thefigurae die/ionis and jigurae sellten-
Iiarum again to be drawn, albeit in a very different context and with
contrasting implications. JOHANN ES N CC II; s
The originality of Burmeister's work is affirmed by his fell ow
musician Statius Olthoff, as well as by Johannes Simonius, the Restock
Professor oratoriae. In a letter to Olthoff, Simonius voices his approval
j ohannes f\ucius (ca. I 556- 1620) was born in Garlitz, Silesia , where
he attended the local Gymnasium. Here he came under the influence
regarding the application ofrhetorical terminology not only to musical of the Kamor. Johann es Winkler. frol11 whom he also received private
figures but to all parts of a composition: " Most learned Master Statius, lessons in compositi on. )\ucius acknowledged the fonnative influences
1 am returning to you the very scholarly book on musica poet;ca by M . of the Lutheran Winkl er in the introduction to his Musices Poeticae."
Burmeister, a book directed at the well educated and not the student. I
approve whole-heartedly of it. While I cannot allow myself judgement
13, RlIh n" c. RlirmCISII!'. t -l 7.
1-1. Ibid ,
t 2. "Melodia ornamentum est, quod unicae saltern voci ornatum addit." Ibid., 56. 15..\lIIS ice! poel i('(1(! ~irll ell! compusiliolll: emlll'.r pmecepliones (Niesse. 1613).
100 Nl/cillS NllciU$ 101

Around t 586 Nudus entered the Cistercian monastery in Rauden as a while Dre ssler (\ 563 ) had maintained that, in addition to suspensions
17
monk, beconting a deacon in 1591. In the same year he was also named and cadences. fugue s were one o f Clemens non Papa' s onlamema.
the abbot of a small monastery in Hinunelwitz. A talented composer. NUcius stands in good company when he classifies these venerable
N ucius published over one hundred motets in two volumes ( 1591 . musical devices as "princ ipal" methods o f elaborating a composition.
\609). While jilga and commissura would be classified as "principal" or
Nucius's Mlisices Poeticae plays an important role in furthering the " fundamental" figure s by later authors, Nucius's third figura principa-
concept aCthe musical-rhetorical figures. While Bunneister's classifica- /is. the repelilio. was to be removed from this category. Thuringus,
tion of the figw-es intojigllrae harmoniae, melodiae, and lam harmOll;- whose OPIlSCll/llm bipmtitum was published eleven years after the
oe quam melodiae was derived from rhetorical models, Nucius inlro- Mllsices Poeticae, adopted a great deal of Nucius's Figurenlehre. In
duces two categories based on the content and functi on of the musical addition to using the same ligure categories, Thuringus also repeats
figure s themselves. He distinguishes between figurae prindpa/es and Nucius's description of the role and purpose of the fi gures virtually
figurae minus prillcipales, a classification which was adopted by verbatim. However. Thuringus would make two significant changes to
Thuringus. Kircher, and Janovka. Bernhard and after him Walther the classification of the figure s. Substantially increasing the number of
substitute the terms figurae fundamelllales and jigllrae slIperficiales musical-rhetorical figllra e mill/IS principaJes from Nucius's four
respectively for these two categories of figures. Nucius inaugurates a (climax. comp/exio. hOll/iole/euton , syncopatio) to fourteen , Thuringus
distinction between those musical figures which arc essentially techni- also classifies the repe/ilio as one of these, while removing the synco-
cal musical devices and those which arc more closely linked to the text patio from this group and placing it among thefigurae principaies.
and affection-expressive rhetorical figure s. In the years that followed. The introductory conunents to the figures in the treatises ofNuciu s
this latter category would receive increased attention and substantial and Thuringus are virtually identical, and can therefore be discussed
additions. simultaneously . The explanation of the musical figures begins with a
Nucius classifies three figure s.ji/ga, commissura, and repelitio. as comparison between the visual and the musical arts: "Just as the painter
figurae prillcipaJes. Bothiuga and commissllra (tlle passing note) are will not merit great praise through an exact reflection of the bearing.
among the oldest and most conventional methods of elaborating a state. o r color of an image. but rather endows his images with their
musical composition. While fugal technique arose out o f the repetition unique gestures, peculiar appearances, and distinct colors, thereby
or imitation of a musical motive or phrase, the origin of the passing note gratifyi ng the eyes of the viewers, so too will a musical composition
can be found in the penultimate di ssonances in early organum. Fuga l through wtinterruptcd similitude and lack of fl orid embellishments not
imitation and passing notes are also fWldamental to fifteenth- and omy remain artless, but also bore the Iisteners."11 Nucius then suggests
sixteenth-century contrapuntal technique. These two compositional that musical figures (mlls ica schemata) could embellish and enhance a
devices arc unique musical phenomena. lacking rhetorical models for composition in the same manner that rhetoric uses figure s and tropes.
both their tenninology and their content. And yet they are the first As deviations from the plain and ordinary musical idiom , the fi gures
devices to be associated with the rhetorical fi gures. As early as 1477,
Tinctoris had compared the passing dissonance to an omatlls used by
grammarians. '6 Stomius (1536) had referred to fugue as a mimesis.
17. Ruhnke. lJrll"meisl er. 1B f.
18 . "Sicul Piclor eodem habilu ac slalu. eodemque colo re pingens quascunque
imagines lantam non merclur laudem. at 5i singulis singulos geslus, peculiarem vultum.
ae distinclos colores. quibus speelalllium oculi pascunlllr. tribuat. Sic HamtOnia Musica.
16. "Discordantiae plll"Vae a musicis sicut ralionabiles B grammalitis omatU5 neces
sui perpetllo 5imilis. nee llllis omala floribus. non modo indoctior habetur, sed etiam
silalisve causa usunli pennitlllntur:' Feldmann, "Das 'Opusculum bipartitum,'" 132.
taedium auditori bus inculit: ' J,/uskes poe/icae, ch. 7. F4'.
 102 NuciU$ ThUrillgllS 103

would lend the composition greater "grace and variety.,,1 9 The purpose diffi cult to assemble a large catalog o f musical figure s in imitation o f
of the figures as described by both Nucius and Thuringus centers more rheIOTic .!: Taking his O\\TI advice to heart, Nucius describes his com-
on ornalus than movere, morc on delighting the listeners than on plexio as a figure "i" imiralioll ofrhe poefs."l) While the authors of the
arousing them . The music ian 's work is compared to that of a painter variolls mush: treatises frequently refer to the similarity between the
rather than an oratoT. Unlike Burmeister, neither Nucius nor Thunngus musical and the rhetori cal Figurenlehre" , only Nucius and Thuringus
refer to the expression of the affections in their introductory definiti on explicitly encourage a musical imitati on of the rhetorical concept.
of the figures. However, following his discussion of the figures, Nucius Howe\er. the musical parody' should be wlderstood not simply as an
adds various lists of words which are to be expressed musically in a imitation. but as an attempt to structure the musical "oration" parallel
composition. lncluded is a list of "affective words" (verba affeClullm ), to its rhetorical counterpart. lending it greater varietas and eleganlia.
consisting of rejoicing, weeping, fearing, lamenting, bewailing, mourn- TIle fact that an extensive catalog of rhetorical figures was familiar to
ing. raging, laughing, and pitying, all to be "expressed and painted music ia ns \\ ho were intent on establishing a similar musical arsenal
through the variety and sound of the notes.,,20 While Nucius appends encouraged authors like Nucius, Thuringus. and many following writers
this list to his discussion of the figures, Thuringus wo uld incorporate the to identify musical-rhetorical devices "ad imitatiollem poetarum." As
list in his definition of parthopoeia. as he spelled it, reintroducing Nucius r~m in d s the reader. eyen the mediocre student was familiar wi th
Burmeister's figure into his own Figurenlehre. The figures' role of rhetoric:ll figures. N suggesting not only their widespread recogniti on
expressing the affections, explicitly encountered only periodically in the and lise. but :l lso their immediate adaptability. Like Burmeister, Nucius
Figurenlehren of Bunneister, Nucius, and Thuringus, would become a quoted musical examples taken from the motets of Clemens and Lassus,
distinguishing feature of the musical-rhetorical figures beginning with indicating that he is also intent on identifying preexisting musica l
Kircher. A similar development can be observed in the development of devices rather than only encouraging the devel opment of new musical
the rhetorical figures throughout the seventeenth and eighteenth centu- expressi ons. Ultimately. Nucius is not so much only interested in
nes. introducing specifically rhetorical devices into musical composition as
In contrast to Bunneister, who justified the novelty of introducing he is concemcd with establishing a closer link between musical and
musical figures by emphasizing the need for new terminology to aid in rhetorica l d~vices through a common tenninology.
teaching analysis and composition, Nucius seems to be more concerned
with the lack of established musical-rhetorical figure s. 21 While Bunneis-
ter's Figurenlehre grew out of the musical material , assigning rhetorical JOACHlM T HURlNGUS
tenninology to the musical devices found in a composition, Nucius's
grows out of a desire to establish a musical Figurenlehre analogous to
the rhetorical concept of the figure s. He suggests that it would not be J oachim Thuringlls. whose dates remain unknown, was presumably
the son of a Pastor M. Thuringus in FUrstenberg, Mecklenburg.}}

22 . Etsi ad Rhetonull imitationem non difficile erat ingentem figurarum Catha

19. 'Ut vero econlra Rhetorum orationes verborum sentenliarumque luminibus logum coacervare: Ibid.
23. See Compfl'flo. b~low.
omatae, ac figuris ac Tropis variatae .. . gratiosae sunt ac auditoribus arrident. Sic
2-l. '' n his cnim omnis lalini semlOllis delicias silas esse, nemo est. vel mediocriter
contenlUs eiegal1tiam. non parum Musica Schemata omanl atque juvant.' Ibid.
eruditorum. qui nesciat:'bid.
20. 'Huc inferenda sunt alia Harmoniae quoque decora, ut sunt primum verba
25. Besides calling himselfS. S. Theol. et Lib. Art. Studiosus el P(oela} L[aure.
affectuum, Laetari. Gaudere, lacrymari. timere, ejulare. flere. lugere, irasci, ridere, Mi-
alus} C["esarcu~J." he \Vas referred to as "Doclissimus Juvenis vir: Feldmann. Das
seren. & : quae ipso sono & nowum. varielale sunt exprimenda & pingenda.' Ibid. Gr.
Opusculum blpanilullI: 12-l .
21 . Quare pauca de his quoque annotabimus: Ibid.
104 T1l11ringll.f 11l11ringll.f 105

Besides being a music theorist. Joachim llmringus was well ra wldcd in to make these minor adjustments to Nucius's categorization of the
the hwnanities, his interests incorporating both theology and the liberal figure s. " thus achieving a distinction between the autonomous figure s
arts. and the heteronomous Illusical-rhetorical jigurae minllS principales," l9
Thuringus stands under the influence of both Nuc ius and Bunneis- Thuringus's grouping of the fi gures is then adopted by Kircher and
lcr, reflecting the Figlirelllellren of both authors in hi s own treatise. Janovka. as well as Bernhard and Walther. who were to rename the
OPIISClli llnl biparlilllm (Berlin 1624). TllUringus' s close association with categories as jigllrae fimdamel1 1ales and jigurae sllperjiciaJes. At the
the Bunueisters is attested to by the epigrams in his treatise by Joachim close of the Baroque era. these three principal or fundamental devices
Bumlc ister's two brothers, Anton and Georg. Furthcnnore, Thuringus are still regarded as a unit. but are no longer regarded as fi gures.
reintroduces many of Burmeister's figures which had not been included Scheibe would describe them as elementary rules of composi tion,
in Nucius 's Mus;ces Poelicae. However. Thuringus is indebted to having little or no alTec ti\'e potential.
Nucius for the substantial clements o f his concept o f the musical- In addition to interchanging the classifications o f repelilio and
rhetorical figure s. The introductory comments which the treatises of the s),llcopatio, Thuringus sign ificantly expands the number of jigllrae
26
two authors have in common has already been discussed. mill/IS prillcipales. To Nuc ius's climax. complexio, homioleleulon, and
Thuringus also adopts Nucius's classification of the figures into now repelilio. l lmringus adds the pallsa. anaphora, catachresis Vallx
figurae pril1cipales andjigllrae mil1l1s pI'incipales. He no doubt recog- bowdo/l), noell/a. pal'fhopoeia [sic ], parrhis ia. apos iopesis, which
nized the importance of Nucius's new ca tegories which di vided the included both the homiaeoplolon and homioleleliioll, paragoge, and
figure s between primarily musical. technical-compositional devices. and apocope. Except for pausa, all the figures which Thuringus adds are to
musical-rhetorical expressive figures. However. Thuringus changes the be found in Bunncister's Figurenlehre. In cases where N ucius and
classification of some figures and adds a substantial number to the Bunneistcr had supplied a tenn with different defmitions (e.g., climax),
second category. While retaining ji/ga and commiss ura in the first Thuringus adopts the Nudus de finition . Thuringus is the only writer to
category, Thuringus reassigns the S)lJJcopalio to thi s group. Along with include both the repelilio and the anaphora in his Figurell fehre,
fugal teclmique and the passing note. the hamlOnic syncopation or adopting Bunneister' s definit ion of anaphora and Nudus' s definition
suspension was an integral element of fifteenth- and sixteenth-century ofl'epelilio. In his discussion of the PQllSa and its applications, Thurin-
cOlmterpoint. As early as 1563 Dressler had referred to the suspension gus leans on the writings o f Dressler.lO The pausa or musical rest had
n
as one o f the expressive Orlwme111a used by Clemens. While it is a long been considered a text-expressive device, and was therefore
conunon musical device, it appears only infrequently in rhetoric, where traditi onally linked to oration . Furthennore, all of Thuringus's mil1l1S
it refe rs to the omi ssion of a letter in a word. 28 The repetitio. on the principales figures apart from the pausa are assigned names adopted
other hand, Thuringus moves from the first category to the mi/llls from the rhetorical figures. thereby dutifully increasing the "cathaloguIIl
pl'illcipales figures. In contrast to the syncopatio , the repetitio is a figure jigul'onml. , . ad Rhe/arum imilationem." Thuringus changes the names
frequ ent ly encountered in rhetoric. used by some rhetoricians as a of two Burmeister figures. calli ng Bunneister'S faux bOllrdOIl "caf04
coll ective name for all fi gures of repetition. By consistently applying clll'esis" and the slIpplemelllllm (Nucius's manubrium) ''paragoge,''
Nucius's principles of classification, it becomes necessary for Thuringus thereby ensuring a consistent use of rhetorical terminology in this group
of figure s.

26. See p.IO! f.. above.

27. Ruhuke. Bllrme ;s/er. 1]7. 29. Feldmann. "Das 'Opusculum bipartilum... 1] 4.
28. See S)'ncopa/io (Susenbrotus). below. 30. See Pal/sa. below.
106 Kircher Kircher 107

A THANASruS KJRCHER places in his MlIslIl'gia U"iversalis. He begins Libel' 5 (De Symphoni-
IIrgia). chapter 19 (De Figllris sive Tropis harmonicis in cantilenis
thanasi us .K.ircher (~60 I-I ~80) was a G~nna.n Jesuit the~logian.
A mathematIcian, mustc theonst, and polyhlstonan. He received hi s
education in the humanities and sciences at various Jesuit school s and
serl'alldis) \\;Ih a defini tion of the musical-rhetorical figures: "Our
musical ligures arc and function like the embellishments, tropes, and the
varied manners of speec h in rhetoric. For just as the orator moves the
universities in Gennany. In 1629 he was appointed professor of mathe- listener through an artful arrangement of tropes, now to laughter, now
matics, philosophy, and oriental languages at the University ofWfuz_ to lears. then s uddenly to pity, at times to indignation and rage, occa-
burg. After some more studies at Avignon in the natural sciences, sionally love. piety. and righteousness, or to other such contrasting
10
Kircher went to Rome in 1633, where he was appointed professor of affections. so 100 music [mO\'C5 the listener} through an artfu] combina-
mathematics, physics, and eastern studies at the Jesuit Collegia Roma- tion of the musical phrases and passages.... There are, then, two
no, and remained until his death. classes of figures recognized in music: prillcipales and minlts princi-
jj
Kircher' s Musurgia Universalis,l' a "compendium of musical fa cls pales figures: Kircher'S concept of the musical-rhetorical figures does
and speculation that is still essential to an understanding of 17th-century not focus on the use of rhetorical language in musical analysis (Bur-
music and music theory .. . was drawn upon by almost every later meister). nor on the figures' usefulness in lending a composition greater
Gennan music theorist until well into the 18th century."n In this grace and variety (Nucius, Thuringus). Rather, Kircher highlights the
profound and all-encompassing tome Kircher, the hi storian, seeks to figures' role as affective devices. While the expression of the affections
gather the entire body of both historical and contemporary, western and was impli ed and peri odically mentioned by the earlier authors, it now
eastern musical knowledge and speculation. While he is not part of the become s the primary objective of the musical figures.
north German Lutheran Kantor tradition, he shares many concerns and Fol lowing the definition. Kircher provides a list of musical figures
interests with the Melopoela. Like most seventeenth-century Lutheran based o n Thuringus's Figllrenlehre, after which he discusses only the
composers, Kircher, the mathematician, subscribes to the medieval , figllrae principales. He retains not only the classification of the figures
cosmological understanding of speculative music theory. As a natural as they were listed in the OPlIscll/llm, but even lists the figures in the
scientist, Kircher has keen interests in the field of human pathology, same order as TIluringus had done. While commissura, syncopatio, and
including the study of the affections. And as a Jesuit scholar, the fuga make lip the figurae principales, the figl/rae minus principales
importance of the discipline of rhetoric is not lost on Kircher. It should consist of pal/sa. repififio, climax, comple:rum, a/Japhora, catachresis,
come as no surprise that Kircher would highlight the speculative, noema, prosopopoeia. parrhesia, aposiopesis, paragoge, and apocope.
affective, and rhetorical nature of music, as anachronistic as this might Besides some millor variations in spelling,1- Kircher replaces Thurin-
seem in a work published in Italy in 1650. Kircher' s conservative yet
rationalistic concept of music is much more rooted in the musica poetica
tradition than it is in the Italian milieu. However, his Figurenlehre does .. 33 . "Figurae in Musurgia noma idem sum praest3l1tque. quod oolores. lropi, atque
not appear in a musica poetica treatise but rather in an encyclopedic and vanl modi dicendi in Rhetorica. Quemadmodum enim Rhetor artificioso troporum
philosophical summary of musical concepts. COfllextu Auditorem movet nunc ad risum modo ad planctum: subinde ad misericordiam,
~On~ ~ll\qual:1 ad indignationem & iracWldiam. interdum ad amorem, pietatem &
Kircher discusses the musical-rhetorical figures in two separate I ~stlliam. allqu3ndo lid contrari os hisce affectus, ita & Musica artificioso clausularum
!IVe periodorum harmonicamm conleXlu .... Sunl itaque duplices figurae a Musicis
OOnsiderandae: Principalc~. & minus principates.' Airu llrgia rm/I'ersalis, L.5, ch.l9, 366.
34. Kircher was inconsistent in his O\\TI spelling of repiril io. compfex um (L.5) I re_
31. Musurgia un i~'trsafis, si~'e ars magna consonI' el dissoni (Rome, 1650). ~Iirio. comf1'ew~ (loS). with comple_Tum I compJUJIS repl acing Thuringus's complexio.
32. George Buelow, "Kircher," New Grol'* Dictionary, 10; 73. I--ie also IL~ed the more common spelli ng of pmmesju instead of Thuringus's porrhisia .
108 Kircher 109

gus's parthopoeia w ith prosopopoeia. Kircher must have been can and sad, out of which all the other affections originate.lI Kircher then
cemed with more than the unique yet consistent (mi s)speUing of enumerates the twelve church modes, or loni as be calls them, with their
parthopoeia. Having defined the figure s as devices which generally associated affections. He not on ly associates the modes with certain
express the affections, it was no longer necessary to include a figure affections. as was traditionally done, but also draws a parallel between
whose primary purpose coincided with the genera l purpose of the the modes and the rhetorical tropes.}9 After discussing the musica l
Figurenlehre. Instead, Kircher chooses to include Ihe prosopopoeia. a i"ventio. disposilio, and elocufio, Kircher elaborates on the role of
figure used to give inanimate objects life and aClion,]' As such. the musical omalllS. the third virrlls o f elocutio, and home of the rhetorical
prosopopoeia is a "word-expressive" or hypotyposis figure . However. figures. Once again the expression of both the affections and the words
neither of these two figures are included in his list of defined figure s in is of central importance ..m "lne discussion and definiti ons of the musical-
Liber 8. In place of these, Kircher defines specific hypotyposis figure s. rhetorical figures follow. While adopting the rationale and terminology
including anabasis, calabro is, circulatio, homoios is. as well as other of rhetorical figure s, Kircher is careful to note the difference between
figure s which could al so be used for this purpose. With affection and the musical and the rhetorical pri nciples: " We perceive the figures in
word-expression subsumed into the general concept o f the musical- musical composition differently than do the rhetoricians, for we use
rhetorical figure s, these functions no longer require a specific fi gure. tropes and figures for the same purpose. However, the rhetorical figure
Kircher later defines a number of musical-rhetorical figure s in the varies the same word .... But the rhetorical figures cannot serve our
eighth chapter o f MlIslirgia Un iversalis's Liber 8: Musllrgia Mirifica. undertaking, so very distinct through its combination of voices in a
a chapter which he dedicates to the discussion of "musical rhetoric:' composition, in quite the same measure. Nevertheless, this class of
The chapter, entitled Musurgia Rherorica. begins with a few introduc- fi gures is well suited to the styills recitalivus, when namely only one
tory paragraphs wh ich emphasize the simi larity in purpose and method voice has the greater advantage of expressing the words."4 '
between rhetoric and music. It is here that Kircher includes the intro-
duction of a musical inventio, disposirio, and e/ocutio .1b Dressler had
38. Movel autem allimrullllostram per tres potissimos affectus, ex quibus tanquam
already referred to the exordium, medium, and finis ofa composition. ex radice quadam atii postmodum nasc untur. Sunl autem hi lres affeetus generates
the three fundamental sections of the dispositio which Bunneister also sequent~$. primus est laelitia, quae stlh se contine! affeet us amoris, magnanimitalis.
adopts. Building on this tradition, Kircher expands the concept of a impetUS. desiderii. qui ex sanguine originem suam nanciscuntur, si vern laetilia dissoluta
intemperlllaque fuerit. gene ral affectus proprie cholericos. irae, odii. indignationis,
musical rhetoric by introducing the three slruclUral steps o f rhetoric into vindictae. fmoris. Secundus relllissionis affeet us generalis cum tanio motu gaudeal,
musical compositi on. Thro ughout these paragraphs. and indeed the generat alfectu$ pictatis. amoris in Deum, item constantiae. modestiae. severitalis....
entire chapter, the imporlance of the expression o f the affections is Tertius eSI misericordiae affectus. sub qua manenl omnes ii affeetus qui a phlegmate &
cholera nigra profluunt. uti sunt triSI;ae. planctus. commiserationis." Ibid.
continuously stressed. 17 According to Kircher. the various affectio ns 39. "'Nos Iropos aliter Sllmentes. nihil aliud esse dici mus. quam cenas Melothesiae
could be classi fied in three general categories: joyful , pious or subdued , periodos. ccrtam animi affectionem conootante5; & tales juxta duodecim tonorum
diversitatent duodecim quoque constituimus; Nam hinc. & antiqui tonos non aliter ac
tropos appellandos censuerunt; cunt diversi di versos animi affectus denotent, & sunt
proprii MllSkorunt:' Ibid .. 7. 144 . The temlS ",MUS and IropllS had been used
35. Sonnino. HOIldbook. 54. interchangeably in rhetoric since antiquity. (Quimilian, Itmit lllio, VlIJ.v.35, 300.)
36. See p.76, 11.43. above. 40. 'OmalUS Musurgiae 1l0Slrae in hoc coll5istit. ut nOlarum. intervallorumqlle
37. "Sicuti Rhelorica va riis argumenti s & rationibus vel uti per fi gurar\llll COll\cxtus verborum significationi respondeat, lit 5; celerem animi mOlulit significent ver-
troporuntque varium contextum ani mum nunc delectat. nunc contriSlat, ... den ique ba. eum notis celtribus. si tardunt.tlU"dis apte exprimat:' Musi/rgia Imil'ersalis L.8 , 144.
ptraCfa mentis commotione landem ad id. quod Orator intendil. consenliendunl 41. "Figuras in hac MU5urgica alte nos aliter accipilllu5. at Rhetores; Naill hic pro
Aud itorem inclinat. Ita & Musica pro vario periodoTUnt contextu tonorumque diversa eadem re slunimlls tropos & figllras . Consistit autem flgura Rh etori ca in varia eiusdem
velbi additione. gemillation~ ... . Que nOli ita collunode nOSlro institUio servire possum,
dispositione, varie an imum agitat." MI/.mrgia rm iler!iulis. L.8. ch.8. 2. 142 .
110 Kircher E Wllllh"" 111

Kircher then defines the foll owing figures : pallsa, stel1asmus to emphasi/c musica l cxprc!'.;;i(lO it self. focusing so notably on ml/s ica
(slispirafio). anaphora (repe/ilio). climax , symploce (complexus), porhelica ami the concepts or the affections and temperaments. Signifi-
homoioplolOlf, antithelol1 (contrapositum). anabasis (aseens io), cara. cantly. it wi II be Christoph Bern hard. student and successor of Heinrich
basis (des census), kyle/osis (circulatio).fuga,~l homoiosis (ass imi/at io), Schlit z. who \\ ill apply the Illusical -rhetorical figures to the modem
and abruptio. Oflhis list, thepama, repetilio, climax, complexus . and styles in the Ue!'man i,:Om~xl. foge ther Kircher and Bernhard signal
anaphora are mentioned earlier in Liber S. Two distinguishing features mllsica POl'II( 'U'S ilHegratioll uf affection and text expression with the
become evident in thi s list of fi gures and their definitions. Kircher new Iwl ian st~k's. \\ hi le still retaining the cosmological concept of
seems to be intent on using Greek terminology wherever possible, music, Wh ile Kircher acco mplishes this in a highly speculative and
including those figures or terms which were purely musical innovations encyclopedic t rea ti s~ on the accumulated store of musical knowledge.
without rhetorical antecedents, thereby linking the musical figures more Bernhard \\ ill present his theori es in Gennan praxis-oriented
close ly to the ancient art ofrhetoric. Secondly. in all of hi s definitions composi ri onal man uals.
there is an explicit reference to the expression of either an affection or
the text. Throughout hi s Musurgia, in every instance where Kircher
mentions. discusses, or defmes the musical-rhetorical figure s. affection E LIAS WAU llLR
expression in a rhetorical context plays a significant role. Due to the
hc nLlmero~l s /III/sica poelica treatises. music dictionaries, and
vast, encyclopedic nature of the Mus urg ia Universa/is and Kircher's
concern to represent all current and past musical thought, it is inevitable
that certain inconsistencies in terminology or content would arise.
T encycl opedi as are not the only sources fo r the musical-rhetorical
figures. The! 664 di ssertati on by Elias Walther o f Arnstadt provides us
However, the orientation toward the concepts of rhetoric and the with an example o f a young scho lar's practical application of the
affections in Kircher's Figurenlehre remains unequivocal. Figlirelllehl'e. Presiding at \\'al1her' s examinalion at the University of
Kircher is the first author to identity specifically the stylus recila- Tlibingen was the illustrious poet and professor Eloqllenliae His/ori-
tivus as a suitable musical style for the application of the musical- arum et Poeseos Christoph Cal denbaeh. a reamed scholar of rhetoric.
rhetorical figures. He thereby incorporates not only Renaissance choral In his dissertat ion. Walther analyzes Ihe motet In me lrallsierwlI by
polyphony but also contemporary musical styles into his concept of the Orlando Lasslls. In the fi na l pages of the dissertation, Walther also
figures. While Burmeister, Nucius, and Thuringus still thought, \\!fote, discusses the IllUsical-rhd ori c.: al fi gures found in the motet. In this
and composed in the context of imitative counterpoint, Kircher docs nol section. he leans hea\'ily on Bunneister' s analysis o f the same motet,
remain untouched by the modem Italian styles. He is thus prompted not found at the end of the MI/sica Poetica,~} All orthe figures identified by
onJy to apply the fi gures to these new musical forms of expression bul Walther are tou nd in I3 Urlneister's treatise. Neither does Walther
pro\lide any specific definiti ons of the figllre s. but rather seems to
aSSume that they are fa miliar enough not to warrant further explana-
ulpote vocibus concordantibus harmonice, nimium dissipatis: etsi stylo recit ativo id tions. Wh ile his dissertat ion docs not offer a new or d istinct perspective
genus figurarum meli us quadret, dum videlicet uno vox maiorem commoditlltem ha btt
eas expri mcndi." Ibid . 7.
On the Figlll'enlelll'e. it docs cswblish the fa ct that rhetorical analysis of
42. Fuga in this context is more than simply an imitative device. but rather signifies
a specific text-expressive use of fugue. reflecting a "chase" in the mus ic. Even thou gh
the fugu e had been tho roughly discussed earlier as a figuYa principalis, it is noW
explained in temlS of its h)polYposis character. justifying its reappearance in th is list of 43. For a co mplcte tT(lIlSlalion of section 18 oflhe dissertation which deals with the
figures. In Janovk a's defin ition. this distinction is clarified through the expression,jilgll mllsical'rhctorical figures III the motel. see Amotd Schcring. " Die Lehre \'on den
in olio sel/su (fugue in another sense). See Fuga. below. musikali schcn Figurcn." 109f(.
112 Bernha,.d Bernhard 113

musical compositions did not only remain wishful thinking on the part Bernhard introduces a new perspective to the concept of the
of music theorists but indeed was applied and accepted by musicians musical-rhetorical figures. While Burmeister, Nucius, and Thuringus
and rhetoricians alike during the German Baroque era. were primarily concerned with identirying devices of musical ornatus,
and Kircher was intent on establishing a correlation between the figures
and the affections. Bernhard's prime objective is to explain and legiti-
CHRISTOPH BERNHARD mize the occurrence and use of dissonance in a musical composition
through the application of the musical-rhetorical figures. In spite of their

C hristoph Bernhard (1628-1692) was born in Kolberg, Pomerania

(now Poland).ln 1649, after attending the Lateinschlile in Danzig.
Bernhard was appointed singer and voice instructor at the electora l
differences, gernlane to all of these Figurenlehren is the concept of a
figure as an artful and irregular manner of musical text expression. In
his Tractatus. Bernhard defrnes a figure as "a certain way of employing
court in Dresden. Here he worked under Heinrich Schlitz, who held dissonances, which renders these not only inoffensive, but rather quite
Bernhard in high regard, recommending him as his deputy, a position agreeable, bringing the skill of the composer to the light of day.''''' In the
which he fmally assumed in 165S. ln the 16505 Bemhard undertook \\\ 0 parallel section ofms Bericht, Uernhard states that dissonances "should
trips to Italy, where he is said to have studied with CarissimLln 1663 be avoided only when they are without a basis in musical rules, and
he moved to Hamburg, where he was appointed Kantor at the Johanllis- hence unacceptable. To this end-namely, to exhibit the use of dis so-
schule, being responsible for the music at the city's four principal nances that much more clearly-I have sought out certain figures , which
churches. He returned to Dresden in 1674 as vice-Kapellmeisler and hopefully will not be without service."O;
tutor to the elector 's grandchildren. He held the position of Kapellmeis- Bernhard considers all figures-whether they are time-honored
ter from 1681 Wltil his death. contrapuntal techniques such as suspension and passing notes or more
Bernhard's compositionallreatises did not appear in print during his modem expressive devices-to be rooted in the rules of traditional
life.time. They include Von der Singe-Klillst, oder Maniera, Tracfatlls counterpoint. It is the counterpoint of sixteenth century polyphony
compositionis augmentatus (hereafter referred to as Tractatus), and which is to fonn the basis of the modem style of composition. 47 Most of
Ausfiihrlicher Bericht vom Gebrauche der Con- lind Dissollcllltien his numerous musical examples include both an example of the figure
(hereafter referred to as Bericht).44 While Von del' Singe-Kunst is a short as well as an "un-figured" origi nal version, which is invariably in the
and presumably early work on vocal ornamentation, the Tracta/us gravis style. Bernhard thereby demonstrates the corresponding relation-
(ca.1660) is the most comprehensive and detailed compositional ship between the two styles rather than suggesting a breach between the
treatise. The Bericht is a later abridgment of the Tracratlls, which
focuses primarily on the figure s. His theoretical works were widely
45, "Figuram nenne ich eine gewisse Art die Oissonantzen zu gebrauchen. dap
circulated, profoundly influencing the writings of J. G. Wahher and
dieselben nidlt allein nicht wiederJich. sondern vielmehr annehmlich werden, und des
Mattheson, among others. Componistell Kunst an den Tag legen,"' Traetatlls, ch.16, 3; Hiise, "Treatises," 77.
46. "So dennoch sind die Dissonantien, wenn sie kunstm1!pig gebrauchet werden,
die vornehmste Zierde eines Stiickes und sollen dannenh ero nur vennieden werden.
Wenn sie olme Grund der musikalischen Regeln, und also ohne Annehmlichkeit seyn.
44. The three treatises first appeared in print under the title Die Kumposiliondehre lu solchem Ende, nelunlich den Gebrauch der Dissonantien desto kliirer zu zeigen, hab
Heinrich Schiilzells ill der Fa:mmg seines Schiilers Olr. Benrhard. cd. Joseph MUller ich etliche Figuren erfunden. welche holfentlich nicht undienlich seyn werden .. Beriehl.
Blattau (Lei pzig: Breitkopf & H1!rtel, 1926; 2nd. ed. Kassel: Barenreiter, 1963 ). ch, 10; Hilse. 'Treatises: 77.
translated into English by Walter Hilse as "The Treatises of Christoph Bernhard," Music 4 7. F. Fiebig. "Christoph Bemhard," Hamburger Beitrrige zur Musikwiuellsehafi
Forum 3, ed. William Mitchell and Felix Selzer (New York: Columbia University Press. 22 (1980 ): 55. This point is also repeatedl y made by Helmut Federhofer, "Christoph
1973),1 - 196. Bemhards Figurenlehre und die Dissonanz," Musikforschung 42 (1989): 110.
114 Bernhard Bernhard 115

o ld and the ncw, the prima and seconda prattica. Any expressive figure s belonging to this category consist of passing notes and suspen-
devices or figure s which cannot be explained on the basis of traditional sions (Transitus. quasi-trallsitus. syncopatio, qllasi-sYllcopatio). The
cOWlterpoint are not to be condoned : "Such figures and works, however, Sfyllis /1/odenlllS on the other hand. makes use of "contrapunctus
have the old masters as their foundation. and what cannot be excused luxurions. the type consisting in part o f rather quick notes and strange
through them must rightly be weeded out from composition as an leaps-so that it is well suited for stirring the affections-and of more
abomination... kinds o f d issonance treatment (or more jigurae melopoeticae ,....ruch
Bernhard is also the first author to explicitly apply the concept of others call 1icent;ae) than the foregoing. Its melodies agree with the text
the figures to purely instrumental music. In emphasizing the use of as much as possible. unlike those of the preceding type. lltis can again
dissonance instead of the expression of the text as the primary moti ,'at. be subdi vided into COIlIl1I1I11;S and comiclls, the first being used every-
ing factor for his Figurenlehre. Bernhard allows a transfer of the where. the second most of all in theatrical productions, although
concept c f the figures to music which is not text-bound. This under something recitative-like is also o ften employed in church or table
standing of the figures is mentioned a number of times in his treati ses. music , No style succeeds as "ell in moving the heart as Iheatralis .',n
The figures can be "found nowadays in vocal works-both church and Before di scllssing the figures belonging to the two kinds of stylus
table music-as well as in instrumental pieces. ,,.9Furthemlore, compos IUXllrians, Bernha rd aga in rem inds the reader that this new style of
ers were inspired to include figures in their compositions in emulation composition empl oys a greater variety of dissonances or licenliae which
of the embellishments employed not only by singers but also by instru "do not seem to be exeused"lJ by the passing note or suspension. The
mentalists. w figure s belonging to the stY/liS communis are slIperjeclio, anlicipatio,
Bernhard classifies the figures in his Tractatus according to the silbs umtio, varialio. muiriplicario, pr% l/galio, syncopalio catachres-
various styles of contrapuntal composition. The "contrapunctus gravis tica, passliS dllriusCllills. sa/rus dllriuscllius. mulalio lOlli, inchoatio
is the type consisting of notes which do not move too quickly. and of imperjectae. 10l/gil/quo disfQmia , consOlwl1/iae impropriae, quaes ifio
few kinds of dissonance treatment. It does not consider text as much as nolae. and cadell/iae dur illsclline. The most modem of musical styles,
it does hannony; and since it was the on1y type known to composers of called the sl),IIIS thearralis (comiclls , recitativlls. ora/orius), will often
fanner ages, it is called stylus antiqllus- as also a cappella and eccles;- require dissonances to adequately express the text ; "It is also at times
astiCIIS, since it is better suited for that place than for others, and since called sty/us recitafi\'us or oraloriliS. since it was devised to represent
the Pope pennits this type alone in his churches and chapel.,,'1 The speec h in music , and indeed not too many years ago. , .. And since

48, " Sotche Figuren und Slitze aber, habm die a1ten Componisten zu ihrern Grunde, mehr als an andere One schickel. und weil satch en de!" Pabst all ei n in seiner Kirchen
und was dUTCh solche nicht kann excusirec werden, dasselbige soil billich aus der Co m- und Capelle beliebel." TractalllS. ch.3; Hilse. "Treatises:' 35.
poSition als ein Ungeh euer aupgemustert werden." Bericht. m . t3; Hilse, "Treatises.'" 91. 52. "Contrapunctlls Ill.~l1riallS ist. welcher aus theils ziemtich geschwlnden Noten.
49 ...". weil derselbe nunmehre in singenden. sowohl Kirchen als Taffel-Saehen. sehzamen Sprilngen. so die Affeeten 71.1 bewegen geschi ckt sind. mehr Arten des
ingleichen denen Sonaten gefunden wird." Traetatlls . ch.21; Hilse, "Treatises," 9 1. Ge bra uchs derer Dissonantzen (oder mehr Figuris Melopoeticis welche andere Licenlias
50. " Nachgehends hat man observiret. daP klinslliche Slinger auch InSlrumenliSlen nennen ) meh r aus guter Aria so ZUni '1extc sich lum besten reimet. als etwan de!" obige,
... von den Nolen hier und dort etwas abgewichen. und also elnige anmulige Art der besteht. Dieser kan wiede r in Communem el Comicum eingethel]et werden. deren der
Figuren zu erfinden Anlal} gegeben; denn was mit vemUnfftigen WohtLaut kan ersle allenthalben. der ande re ~be r meist 8uff Thealris gebraucht wird, wiewohl in
gesungen werden. mag man auch wohl setzcn." Berichl. eh . l3; Hilse, 'Treatises." 90. ~ i rc h en urid TaJTel-Music aueh om etwas recitativisches gebraucht, einen guten Effect
5 1. "Contrapunctus gravis isl. welcher aus nichl allzugeschwinden Noten, weni g In Bewegung der GemUther (welchen Zwec k kein Stylus so wohl. als Theatratis
Arten des Gebrauchs der Dissonanlzen besteht, und nicht so 5ehr den Text als die eITeichct) zu veruhrsachcll pf1eget ." hacta/lI.f. ch.3; Hilse. "Treat ises:' 35 .
Hannonie in Acht nlnunt. Wld weil dieses Genus allein den Alten bekandt gewesen, als 53. " ... weilen sie Ill i ! dencn \,OIgemeldeten Figuris nic ht scheinen enlschuldiget
wird er StylUS arltiquus genennet, 8uch wohl a Capella. Ecclesiasticus, weit er sith dahin l U werden ." ' T"raClallls. ch.2 t .
116 Bernhard Bernhard 117

language is the absolute master of music in this genre, just as music is priate settings were not to be intermixed. lndeed, Scacchi ' s Cribrul1f
the master of language in S lY /liS gravis, and language and music aTe both 11Iusicllm was an allac k on some psalm settings of the north German
masters in sty ills ilLtllrians communis, therefore this general rule Paul Seifert. particul arly hi s use of the basso continuo and certain
follows: that one should represrnl speech in the most natural way chromatic licenses in his church music .s, For the Italians, the use of the
possible."S4 The exhortation to "represent speech in the most natural sty/us lhealralis in ecclesiasti cal music was simply improper. However,
way" is then followed by a list of examples not unlike Nuciuss. while the diffe rentiati on between styles in Italy was made according 10
Herbst's, or later Speer' s list of affective words, H The composer is to their appropriate locale o f employment or perfonnance (church, cham-
appropriately express joyful and sorrowful, swift and slow thOUghts. ber. or thea ter). this clear-cut distinction could not be made in
Emphasized words as well as elevated or exalted thoughts should be set Germany.S9 German Baroque music sought a synthesis of the styles
higher, while unemphasized words and low or dark thoughts should be rather than a clear distinction between them, allowing the Lutheran
set lower, not tmlike the hyporyposis figures o f anabasis and catabasis. mllsicus poeticllS greater \ersati lity and effectiveness in expressing the
Punctuation marks, in particular the question mark, should also be text thro ugh the music. NO! only is thi s amply demonstrated in the
reflected in the music (inlerrogatio).~ Various kinds of repetition can music o fB em hard 's mentor, Heinrich SchOtz, but was in fact mentioned
also be used, including W1ison sections (Kircher's complexus) and in Bernhard 's own defin itions of the sryillS modernus. Therefore
repetitions rising in pitch (Kircher' s climax, gradalio). Bernhard then Bernhard drops these styli stic classificati ons of the figures in his
lists the figures which. in addition to those used in the other styles, can Bericht. using instead the tenn s figurae fimdamentales and figllrae
also be used in the stylus IhealraJis: extensio, ellipsis, mora, abruptio, superficiales . The figllrae fi mdamenlales are those ''which are to be
transitus inversus, heterolepsis, tenia deficiens , and sexra sllperj1l1a. found in fundamental composition, or in the o ld style, no less than in
Bernhard 's classification of the fi gures according to compositional styles employed today. There are two such: ligatura and transitlts.''J60
styles proved to be unsatisfactory in his German setting. The stylistic Bernhard chooses the term superjicia/es to describe the expressive
differentiations proposed in his Tractallls are modeled after the Italian musical-rhetorical fi gures. With this he wishes to affinn their link to the
stylistic divisions of Marco Scacchi, who classified musical composi- " fundamental" style. Far from being "superficial," they are " formed
tion according to styilis ecclesiasticus, styilis clibiclilaris, and stylus upon" (super jacere) thefigllrae jimdamentales, and while "they do not
Iheatralis .~7 The various styles' distinct characters, devices, and appro- seem to be excused ,"61 they in fact have "the old masters as their
foundation .,,6~ Furthermore, these fi gures are sltper-facies in that they
were adopted by composers only after their established use by singers
54. " Er wird 8uch sonst Stylu! re<:itativus odo' Omtorius genann!. weiler eine Rede and instrumentali sts "until the art of music has anained such a height in
in dO' Music vorzustel1en erfunden worden. und zwar fUr nichl al1zuvielen Jahren ... . our own day, especially in the newly establi shed and lately continually
Und weil in diesem Gmere die Oralio Hannoniae Domina absolutissima, w wie im
Srylo gravi Harmonia Oralionis Domina IUld in luxuriante communi sowohl Oralio als funher embellished sty/ItS recilafivllS, that it may indeed be compared
Harmonia Domina isl. also rUhrel dahO' diese Galeral Regel. dall man die Rede aufs
natUrlichste ex:primirm solie," Trac/a/us ch.3S: Hilse. "Treatises," 110.
55. See p.24f., above. See alw HYPol)posis, below. 58. Ibid.
56. Although the in/erraga/io is not defined as a musical-rhetorical figure until 59. Sec ~ I so Eggebrechl, "Uber Bachs geschichtlichen Ort." 281.
Scheibe's Figurtnlthre. the musical representation of the question was a wellestab- 60. " Figuras fundamemales nemle ich diejenigen. welche in der flmdamental
lished technique. Calvisius had already suggested a musical reflection of a question in Composition oder im alten sty[o nicht weniger ats in den I1blichen Arthen befindlich
the lext. Unger, Be;:iehungen. 31 . sind. Solche Figurarom FWldamentalium sind zwey: Nehmlich Ligatura und Transitus."
51. Cribrum mllsicum (1643) and Breve dircorso soprala mllsica maderna (1649 ). Berichr. ch. 10; Hilse. "Treatises:' 71.
Lorenzo Bianconi, Music in the $e\elllee"th Century. trans. David Bryant (Cambridge; 6 1. See n.S3. above.
Cambridge University Press. 1981), 41ff. 62. See n.48. abo\e; also FC'derhofer, "Chrisoph Bernhards Figurenlehre," 112.
118 Bernhard Pr;nt: 119

to a rhetoric, in view of the multitude of figures.'>f>l With these classifi rhetorical figures \\ hich focuses less on the analysis of vocal polyphony
cations. Bernhard also establishes a link between the figuroe principales through the applicat ion of rhetorical concepts than on the composition
and minus principa/es of earlier Figurenlehren and his own categories. of contemporary music through the usc o f modern expressive tech-
While principaies andfimdamentales refer to the principal structural , niques. Kin:ller's refe rence tn the suitability of the musical-rhetorical
musical devices fundamental to the stylus gravis. minus principales and fi gures in the s(l'llls recitatil'lIS is thus rigorously applied in Bernhard ' s
sllperficiales signify the affective and rhetorical, omatus-oriented Figu/'enlehrf' ,
figures. In contrast to the earlier jigurae principafes, fugue is not
included in Bemhard'sjimdamentales figures because it is not a device
dealing specifically with dissonance, as do the passing note (trans itus ) WOL FGANG CASPAR PRINTZ
and suspension (syncopo/io or ligatura). The sliperficiales figure s
include sliperjeclio, subsumtio, variario, multiplieQ/io, ellipsis, retar-
dalio, hetero!epsis, quasitransitus, and abruptio. No longer listed as
specific figures in the Bericht are anticipalio, pr%ngatio, syncopalio
W olfgang Caspar Printz (164 1-1717 ) was an important late-
sen:nteenth-cenrury composer, theori st. and music historian,
whose works influ enced \\Tile rS of the next generation such as J. G.
catachrestica, JXUsus duriuscu/lIs, and sa/Ius duriusculus, mutalio loni, Wal ther and !'. Iattheson. After attending the Lateil1schule in Vohen-
inchoatio imperjecla, longinqua distantia, consonantiae impropriae, straup (Upper Palatinate), he wcnt to Altdorfin 1659 to study theology
tertia deficiens, sexta sllperjlua, quaesitio nolae, cadentiae dllriflscliiae, at the u niversity. Hi s career as a Lutheran mini ster was cut short
eXlensio. mora, and transitus inversus. While many of these are either through the rec(lll\'ersion of the local ari stocracy to Catholicism, at
subswned under other figures or given new names, others are apparently which point Printz dec ided 10 make music his profession . In 1662,
not considered sufficiently irregular, rhetorical, or expressive to warrant durin g an cx tended trip through Italy, Printz encountered Kircher, " who
special mention. was a major intl uence on ltis theoretical writin g :06~ After his return, he
Bernhard's discussion of the musical-rhetorical figures updates the eventually ftlTlved in Sorau (now Poland), where he remained for the
Figurenlehre, placing it squarely in the context of mid-seventeenth- rest of his producti ve life, assuming the positions of Kantor as well as
century stylistic trends without breaking iLS ties to the past. He not only music direclor to the counts of Promnitz.
illustrates the correlation between the expressive or dissonant fvluch of Pri.ntz s theoreti ca l writing concerns itself with questions
compositional devices of the stylus ltaurians and the principles of the regarding per fonnance rather tha n composition. lie is included in this
stylus gravis but seeks to provide the composer of modem music with study not only because of his inll llence on nil/sica poetica theorists, but
expressive figures to affectively express a text. In this modernized also because many of the embe llishments discussed in his writings also
Figurenlehre, the works of the great past masters of vocal polyphony as appear in Figlll'elllehrell of lalel' authors. In his Phrynis Mylilenaells 66
well as the compositional styles of contemporary composers such as Printz speciticaJ!y stales that his intention is to describe musical
Monteverdi , Carissimi, Cavalli, and Rossi are cited as appropriate embell ishments, but nOI "!hose var;at;ol1es which occur through the
models for imitation .M Bernhard presents a concept of the musical- COIUleC lion and arrangement of consonances and dissonances, of which

63 . See n.50, above. The lext continues: "Bil} dal} auff unsere Zeilen die Musica
so hoc:h kommen, da!} wegen Menge der Figuren, absonderlich aher in dem neu 65 George Buelow, "Printl:," Nell GrOI'e D ie/iollon>, 15: 274,
erfundenen und bisher immer meh r ausgezieJ1en Sty10 Recilativo, sie wohl einer 66. P/J'VII!i .1/1 Il/(,lIoell.f, odeI' Sa~1 I'i.schel' COfllpolli~/, published in ilS enlirety in
Rhetorica zu vergleichen." Berich/ , ch.ll; Hilse, " Treatises," 9Of. 1696 (Dresdeu, LeipZig). was published earlier in three 5q)atflte volumes (Quedlinburg,
64 . True/a/us, chAl. 1676-79)
120 Prirrt~ 121

you have been sufficiently infonned through mllsica poelica.'~1 His tion of a given musical passage.'>69 Although the tenns figura and
instructions are directed toward the performing musician, the Musicam , manier are brought together in a follOwing definition, it is clear that
not the composer, who is compared to a cook rather than an orator: Printz understands the termfigllra as a general heading for the embel-
" Why should not also the musician, who is concerned with delighting lishments. mallier meaning simply "manner" rather than "ornament" as
the ear, apply as much effort as the cook or painter in discovering every Mattheson would use the term : "A musicalfigura is a certain modulus
variation in order to do justice to his calling? After all, music itsel f which results through divisions of one or more notes and which is
consists onJy of variations in souud , and everything which is repeated performed in an appropriate manner,,,70 Of his embellishments, the
without change is an annoyance rather than a pleasure to the ear.'061 circulo and s lispiralls appear in musica poe/iea treatises as musicaJ-
The following diagram depicts Printz's classifications: rhetorical figures. Kircher had already defined the circulatio and the
suspiratio as such. Furthermore. the (ira/a and especially the aecen/us
are also given text-expressive potential by some writers. However,
Printz defines all of hi s embellishments as melodic ornaments, quite
independent of their hannonic implications or expressive capabilities.
His examples are without exception monodic, unlike Bernhard 's, which
were always placed in a harmonic context. This is particularly signifi-
cant in the case of the accen/flS. While Printz explains this ornament
simply as a melodic embellishment, other writers describe it in terms of
its hannonic context and implications. The sllspirans, described by
others under the terms sllspirario or stenasmus, is simply defined as a
three-notefigura carta in which one of the notes is shortened through
the insertion of a rest. Although the term itself suggests an expressive
application (suspirare : to sigh. long for), there is no reference to this
expressive content in Printz's definition. Printz goes to some length in
his pursuit to define the various figurative constructions. For example,
in enwnerating the salli composti, a four-note combination of simple
Printz defines an embellishment or variat;o as " an artful modifiea- leaps, Printz arrives at one thousand possible combinations. With his
use of the temljigllra, Printz introduces yet another method of differen-
tiating the figures , namely. between ornamental embellislunents and
expressi ve musical-rhetorical figures. Mattheson refers to the embellish-
67. " [ch will aber hler nkhl handetn de Variatione. so geschicht Coniunctionibus ments asfigllrae canriones or Manieren, while Vogt and Spiess call
& Conseculionibus Consonanliarum & Dissonantiarum. und dergleichen I davon du
genugsam berichtet bist aus del" Musica Poetica. soodem de Variatione. aus welcher aile them figurae simplices. The musical-rhetori cal figures, on the other
undjede Erfindungen cines Componisten fliessen ." Phr),nis A{I/ifenaells. pan 2. ch .8. hand, are referred to asjigurae canlIIs by Mattheson,figurae ideales by
~5. 46.
68. "Warumb solte denn mm nicht auch der Musicant, der das Geht\r zu vergnUgcn
besch!tffiiget ist I gleiche Flei!! (wie der Koch odeT Maler) anwenden f ane undjede
69. " In slriclII Significati one aber is Vari atio eine jede Verllnderung eines Moduli,
Varieteet Wid AbwechsellUlg zu erfmden I umb seinem Ambte rechtschaffen vorzustehen
da man dieses allezeil injener mercken und abnehmm kan." ' bid. 7. 46.
I zumahl weil die Music an sich selbst in mera Varietate sononnn bestehet l und slIes
70. "Figura ist in Musicis ein gewisser Modulus. so mlStehet eus einer I oder auch
was om in derselben wiederholet wird I dem Gehtlr mehr Verdrull ats Annehmlichkeit
verursachet:' Ibid . 3. 45. et~icher NOlen Zenheilung f Wid mit gewiuer ihm anstlndiger Manier hervor gebracht
wlfd: Ibid . ch.9, I . 47.
122 Ahle Ahle 123

Vogt, and simply jigllrae by Spiess. hUJTlorolls dialogue limn. one of the characters being Helian, a pseud-
While Printz's discussion of the ornamental melodic figurae or onym o f the author deri \'ed from the letters of his latinized name.
varia/iones does not contribute directly to the development of the Ahlellills. Aller discussing the importance of observing a text 's periods,
concept of musicalrhetorical figures, it does indicate a growing Gennan conunas. and colons through various cadences and pauses, Ahle focuses
interest in melodic rather than only contrapuntal principles. Parallel to on the carefulllltlsical expression ofa word' s S) lIables and accents. He
the emphasis on modem expressive compositional devices in Bernhard' s then proceeds to the topic of the musical-rhetorical figures . Ahle, the
Figurenlehre , Printz's emphasis on melodic ornamentation reflects a poet laure"t!;!. deriycs his concepl of the figures directly from the
gradual modernization or "Italianization" of Gennan musical thought. rhetorical source. I-Ie suggests that the composer tirst study the rhetori-
It would remain for Mattheson to fully integrate the modem melodic cal fi gures found in th~ lext and then refl ect these in the music, in the
orientati on into a comprehensive rhetorical structure. same mmmer that the cadences and accents orthe lext might be repre-
sented by the music: "Just as orators or poets use a great variety of
rhetori ca l figure s. so also do a number of me/opoe /s use them in their
JOHANN GEORG AHLE musica l di scoursc:'N To demonstrate the mllsical application of the
rhewrical figure s, Ahle does not supply musical examples but rather, in

J ohann Georg Ahle (1651-1706) was the son of the renowned

organist Johann Rudolf Able, from whom he presumably received his
musical education.'1 Born and raised in Milhlhausen, he succeeded his
keeping with his literary interests, simply illustrates the various figures
through changing amI rearranging a givell two He applies assorted
repetitions. inversions. and additions 10 a psalm verse: "Rejoice in the
father as organist at S1. Blasien at age twenty~three. a post he held until Lord. all the earth: sing. glorify, and praise him. The intelligent song-
his own death. He was then succeeded by the young 1. S. Bach. Ahle poet will know ho\\' to construct various word figures out of this text.""
was not only an accomplished musician but also a distinguished poel. While all of his e~all1p l es are taken from the rhetorical emphasis
being crowned poet laureate by Emperor Leopold I in 1680 "on account figmes. devices used to cl arify and accentuate the text ,16 AWe also
of not only his virtue and wonderful capabilities, but especially his stresses the figure s omallfs character: "And because the composer is
excellent scholarship in the noble art of German poetry, as well as his aware thai the oralorical and poetical embellishments are only used like
exceptional and graceful manner of musical composition."n sugar and spices. he figurates each statement di fferent from the other,
Ahle's musical-rhetorical Figurenlehre is presented in his Sommer- according 10 the most appropriate and uscfullllllllllcr."n Two rhelorical
Gespriiche, the second in a series of four publications covering the
theory and history of music. n The prose of these texts is wrinen in
the third vo lume includes a di sc ussion of musical embtlJilhmenls, including accento,
tremolo. gr"lIf10. cl/'colo nle::Q. cercart tlella 11010, and tirata me::ll. The Willu,.,
Gelpruche deals with questions regarding poetry. the nlOdts. and the musical intervals.
71. The LUneburg Kantor Michael Jacobi referred to Johann Rudolf Ahle as 'the 74. "Gleic hwie die Redn er in freier I und die Poeten in gebundener Rede allerlei
German Monteverdi," A. Adrio. "Able," Musik in Guchich/e und Gegellwart, I : 169. ~elorische FigurCll gcbrauc hen: also bedienen sich audJ mancher die Melopoeten in
72. Hartmut Krones. "Die Figurenlehre bei Bachs AmlsvorgAnger Johann Georg smgender Rede." .')mulllerGespriiche (MlIhlhausen. 1697). 16.
Ahle," Osterreichische MJlsilc:eitschrij/40 ( 1985): 89. quoling E.L. Gerber, Neues 75 . ''111 98, Psalmen Siehl: Jau chzeI dem HErren .lilt weI!. singe!, rilhmel und
historisch.biographisches Le.xikon der Tonkiinstler, vol. I (Leipzig, 1812), 35. l~~, ~ ier~us weis ein verst~i l1digt r Sangdichter unlersdJied liche Figuras .l.i'EW<; seu
73. TIle first of the series, Johann Georg Ah/ells mllsika/ischu Friihlillgs.Gespr(j dlCIlO11lS 7,11 1I1achen: ' Ibid.
che. darinenj1irnehmlich l'om gnmd- rmd krmslmlipigen KompOllirell gehalldelt wirJ, 76. Krone s. "Die Figu renlehre bei Ahle." 93.
was published in 1695 (MUhlhausen). The following Somme,.Guprdche, He,.b~I' 77, "Dan wei1 ihm I:\ewust I dafl di e Rednerischen und POeIischen zierligkeilen nur
Gesprliche, and Winter-Guprliche then appeared at two-year intervals. Ahle deals wlth ats zukker lind gewilrze zu brauchen; so figurirel er inllmreinen ausspruch andersl als
consonances. di ssonances, and cadences in the first volume, ending with the matter of den and em f nach dem er es luhnlich wld dienlich til scin beflnde!. ,. So,"me,..
text settings. This is taken up in the second volume under the musica1rhelorical figures; Gesprache.17.
124 Ahle 125

figures which AhJe does discuss in their musical context are antithesis which in one way or other can be transferred from the literary to the
and emphasis. However, instead of defining them . Ahle cites an exam_ musical mediulll but. indeed. all rhetorical figures found in the text. In
ple in which the two rhetorical figures are ignored in their musical additi on. the composer is a lso to apply the rhetorical Figurenlehre,
setting afthe text : " For one day in Thy courts is better than a thousand constructing literary figures in the text and then observing them in his
elsewhere." After quoting a certain musical setting of this text, he setting of the words. Thus, Ahle's Figurenlehre implicitly embraces all
lawtches into a critique of the anonymous composer's efforts: "Oh how of the rhetorical figures, eYen though he explicitly mentions only a few
silly that sounds! The malpoet (melopoet, I meant to say) has neither of them.
regarded nor expressed the antithesil1 or emphas;II, For in this text Ihe
words one day and a thousand as well as in thy courts and elsewhere are
juxtaposed: therefore he should have set the word one longer than day TOMAS BA LTAZAR JANOVKA
and elsewhere higher than/or, as proper emphasis would dictate ." 71
Able includes nol only Ihose rhelorical figure s which are easily
applied 10 a musical composition (epiulais .79 tlllaphora, al/adiplosis,
climax, epistrophe. epa/Talepsis, and epa/Todos) but also figures which
T omas Baltazar Jano"ka (1669-1741) was a Czech organist and
lexicographer. Like Kircher, Janovka received a Jesuit education,
which emphasized not only the liberal arts in general but rhetoric in
will remain purely literary devices. such as asyndeton and pol),- particular. 81 He received a masters degree in the liberal arts from
syndeton.&O His concept of the musical-rhetorical figures is a tmique one. Charles University in Prague in 1689. Two years later he accepted the
Ahle's point of departure is not the text-expressive musical phenomena, post as organist at Tyn, Prague's principal church, a position he held for
the explanation of dissonance, or even the expression of the affections the following fifty years.
through devices which music and rhetoric have in common. Rather. he Janovka is remembered chiefly for his one published work, Clov;s
begins with the rhetorical figure s which are found in the text and which ad ThesallYUm.S2 The Clavis is the flTSt music dictionary to be printed in
are then to receive musical expression or at least consideration. This the Baroque era. While other authors included lists of defined terms in
would imply that the composer is to observe not only those figure s their composition trealises. Janovka devotes his entire publication to the
definition of approximately 170 musicallerms arranged in alphabetical
order. In defining the tenns, lanovka borrows from various older
sources, Kircher's Mlisurgia Universalis in particular. In many cases,
78. "Ei, wie llippisch klinget das! Hat doch der Schlimsetzer (Stimsetzer wollte ich
sagen) weder dieAnlilherin noch Emphasin beachlet und ausgedrilckl. Dlln hier werden "his definitions are more correct and precise than those ofK.ircher."8l
die w6rter ein Til und 'Iuund I wie auch in deineD Vorb!ifrn und son!t gegen Kircher serves as the only source for Janovka's definitions of the
einander gesetzet: darum hltte er rin linger als TIC l und 50nsl hoher als din I wie musical-rhetorical figures, all listed lUlder the term Figurae Musicae. In
beides der nachdruck erfordert I selZen sollen." Ibid., 31 .
79. Ahle's assumplion Ihal the rhetorical figures be applied in the musical his inlroductory comments to the figures, Janovka, like Kircher,
composition is clearly evident in a commenl he makes about epi;:ewru: il is Ihe 111051 emphasizes their role in expressing the affections. Unlike Kircher,
conunon figure, "as composers use il in virtually all passages." ("Doeh wie das salz die however, Jano\'ka does not place the same emphasis on the affective
gemeinste wUne iSI; also is! die Epizeuxis die gebreuchlichste Figur: sintemahl sie \'on
den Komponisten schier in allen commatibu! angewendet wird.") Ibid., 17.
80. The asyndeton and pofy:r)'lIdetarl refer to a lack or excess of conjunctions.
Those figures which cannot be reflected in the music (a:ryndelon, pofysyndew/1. 81. The Jesuit emphasis on the rhetorical discipline is detailed in Barner's
synOrlymia) would nol be adopted by Wahher in his Lexicol!. who otherwise includes IJQrocirrheIOlik. 32 1- 66.
Ahle's figures, eventhouglt they were defined as purely rhetorical devices. Although . 82. The Clads ad Ihes(Jw'ulII lIIagnoe arlis mrl$icae (Prague, 1701) was reprinted
Vogt would include the pol)'sYlldeton in his list offiguroe ideafes, he defines it as a. III 1715 as ClclI'I's ad mllsfcOIll. The facsimile edition (Amsterdam: F. Knuf, 1973) is a
purely musical, expressive figure, reflecting the term's literal meaning rather than its reprint of 1. S. Bach's personal copy, bearing the composer's signature, dated 1705.
rhetorical content. See also PoI),s)'tIdefon and 5),noll),,,,io, below. 83. J. Clapham and T. Volek. lanovka." Nell' GrOI'e Dicliollory, 9: 50 1.
126 Vagi 127

attributes of the church modes,l4 While Kircher had compared the as/also bordolle (not to be confused with /miX bo urdon), is also called
rhetorical tropes to the twelve modes through which "specific affections p leollasll1l1s by JanoYka. He mentions that Kircher used the term
of the soul are manifested,,,IS Janovka uses the same phrase in his isobaflls to describe the technique. Tn describing hyperbatus, hypobatus,
definition of the figures, thereby combining Kircher's defmitions of and pleonasmus as purely technical dey ices \\ithout any affective
modes and figures in his one definition: "The musical figures function characteristics. Jano\"ka defi nes them outside of his list ofthe musical-
similarly to the tropes and the varied manner of speech in rhetoric. rhetorical ftgures. Melodic embellishments. including the acce1lfus
Furthennore, the musical figures consist of certain musical passages in (i1l/all) . colloratwa (diminuriolls or passagae). COllie, harpegiatura,
which specific affections of the soul are manifested. for example, love , r;rata. fIemu/o. and fI'illa are also defined in the C/avis in their appropri-
joy, ferocity , violence. dignity, modesty, moderation, piety, compassion. ate alphabetic order, fl aving described the jigllrae mlls icae as passages
et cetera."J6 Janovka also classifies the figures according to jigllrae which are used to express the affections. the purely ornamental devices
principales and minus principales. The commissura, sy ncopatio, and do not fi nd a place among Janovka's musical-rhetorical figures .
fuga belong to the first group,1T while pausa, anaphora, climax, sem-
plica (complexus), similiter desinens Figura (Kircher's han/aiop/aran) ,
anti/he/an, anabasis, catabasis, circulario,jilga alia sensu, assimilatia, MAURITI US J OHANN V OGT
and abruptio make up the latter group.
Three further terms associated either with the musical-rhetorical
figures or the various melodic ornaments are defined by lanovka in
other places in his dictionary. In his discussion of counterpoint, lanovka
M auritius Vogt (1669-1730) . bom in K6nigshofen, Bavaria,
stud ied philosophy and theology at Charl es University in Prague.
It is not inconceivable that Vogt and Janovka. exact contemporaries who
employs the terms hyperba/us and hypobatus to describe the placement attended the same university. were acquaintances. After entering the
of the countersubject in relation to the subject. Chordal chanting, known Cistercian monastery at Plasy in 1692, he was ordained priest in 1698.
Besides his music studies at the monastery, Vogt also traveled to
Genllany and Italy to study music. In 1724, after rnany years ofmusical
84. lanovka discusses the church modes under the tenn canllls, where he briefly activity as organ ist. composer. and music director in Plasy, Vogt was
describes the eight modes and lists an associated affection for each one (Clmis. p.8). appointed Superior at the pilgrimage church Mari anska Tynice, where
Under the lenn tonus, the word Kircher used for the modes, Janovka goes to some length
to define the various major and minor keys. listing their common intervals and their he remained until hi s death.
individual key signatures. Janovka's hannonic concept is governed more by modem In 1719 Vogt p ublished a comprehensi\'e music treatise, the
tonality than modatity. Cone/ave Ihesauri n1(1gnae (ll"lis lIIlIsicae. The treatise is divided into
85. " Nos tropos aliter sumentes. nihil aliud esse dicimus, quam certils Melothesiae
three parts. each consisting of three to fhe sections (trac/allls) , which
periodos, certam animi affectionem connotanles: & tales iuxta duodecim tonorulll
diversitatem duodecim quoque constituimus." Musurgia mriversalis. L.8. ch.8. 7, 144. in tum are divided into anywhere from fi\'e to sixteen chapters. The first
86. "Figurae Musicae idem praestant, quod Tropi, alque varii dicend i modi in pan of the treatise, which deals with historical and speCUlative matters,
Rhelorica. Sunl autem Figurae Musicae quaedam Melothesiae periodi, certam animi al so includes a section on organ building. Pat1 2 concerns itself with
affectionem connotantes, puta: amoris, gaudii, ferociae. impetus, gravitatis, modestiae.
temperantiae. religionis, compassionis &c.' Clavis ad thesaurum. 46f. Gregorian chant and the church nwdes. Part 3 compri ses well over half
87. lanovka's definition ofjuga includes not only thejilga tOlalis (the canon. also of the treatise and discusses the composition of po lyphonic music . The
calledj uga ligala) andjilga purliulis (the imitative fugue. also called[uga libera. solu/O ) third section o f this part begins with I\\'0 chapters discussing instrumen-
but also various specific fonn s of fugue: jilga inl'ersa or conlraria.juga perpe/UQ or
longa ,juga reciproca, andjuga cancrizans. Like Kircher. he also inc1udesjuga (in aha tal and \'ocal ranges. keyboard fingering . and a long list of admonitions
sensu) in his list ofjigurae minus principales, referring there to the use of fugue in a to composers. singers. and instrumental ists. Then follow two chapters
text-expressive manner in which the literat meaning ofjuga ("chase, flight") is reflected on the musicaliigures: chapter three discusses tl1ejigllrae simplices and
in both the words and the music. See Fuga. below.
128 Vogt 129

chapter four thejigurae ideales (ad arsin. el ,hes;", et perl"00111/1.

)" Th"IS jigllrae ideates, usuaH) moli\'ated by the text . . .. The texts deserv ing
section concludes wi th chapters on the affections, on phanfasia and expression through thcfigllrae ideales are innumerable.,,9(l The expres-
inventio, and on the parts o f a composition. The last two sections then sion of the affections through the figurae ideales is mentioned again in
explain the principles and rules of cOlmtcrpoinl. a follo\ ...;n8 chapter. 91 These figures are not only to renect the text but
Vogt incorporates the vocal and instrumental embelli shments into to present the text's "idea" 10 the listener in a lifelike (vivaciter) and
his Figurenlehre, resulting in his novel classification of the fi gures. He imaginative Udealiter) manner. Vogt lists two fami liar musical -rhetori-
calls the embellishmentsfigurae simplices. which include the aecemllS, cal figure s. hypo typos is and prosopopoeia, which could be employed to
coule, curta, groppo, harpegiolllra, herbeccio. messan:a, me:ocirolu this end . TIle hyporyposis had been mentioned by Burmeister, whi le
(circullts), lirafa, tremula. and trilla. Some of these omaments are only Kircher had replaced l1lUringus's parlhopoeia with prosopopoeia in his
mentioned, while others are explained through musical examples. Vogt list of figures. These are used in rhetoric to re-present either the situa-
also illustrates how thcfigurae Simplices can be combined, resulting in tion. affection. or another person's words in an oration. 92 With the
"compound figw-e s" (figurae composirae). TItis process, which he call s expression of text and affection detennining Vogt's concept o f the
phantasia, generates a variatio composed of mixtures or messan=ae of musical-rhetorical figures, the h)'{XJtyposis and prosopopoeia character-
figurae simplices. ize the enti re category o f figures, which he callsjigllrae ideales . Thi s is
The strong correlation between thcfigurae ideales and the musical furth er supported by Vogt's de finit ion of the idea musica as "the
expression of both the text and the affections is repeatedly underscored musical representation of someth ing. The idea is namely that which is
in Vogi's treatise. In his earlier admonitions, Vogt had encouraged the portrayed through Il)potyposis figures.'>9J Once again idea and hypo-
composer "to be a poet, not only that he recognize the meter of the Iyposis are corre lated. Vogt' s cho ice of the verb decal1lare indicates that
verse but that his themes also be inventive. He oUght to understand hO\.... he is referring to vocal music. Furthennore, the plural formulation of

to further intensify [the composition) imaginatively through the figurae hypolhiposeos suggests an entire class o f hypotyposis figure s.
musical-rhetorical figure s of hypotyposis 3Ild prosopopoeia , and like a Music and words arc to work together in a vivid representation of the
painter, place the beautiful or frightful images life-like before the eyes ~oEa (literally, " that wltich is seen") of the tex:t, using the "hypolhi-
of the listeners through the music .... He ought always to work toward poseos figurae ideales." Besides encouraging the use of hypotyposis and
achieving the intended affection in his composition; and furthenn ore . prosopopoeia, Vogt also mentions antithesis and prosollomasia. Of
where there are no suitable affective words, he ought to grasp the sense these fOllT figures, only the antithesis is included in his list of defined
of the text .. ,. He ought to Wlderstand the alllitheses, prosonomasias, figure s. The prosol/omasia, however, can be linked to another fi gure
and all the other rhetorical fi gures, which are used in music.,,9 AI the which Vogt does define in his list of figure s, namely the polyptotoll.'*'
end o f his explanation of the figures, Vogt notes that "there are many

90. " Plures figurae SWlt idea!es. quibu$ plerumque textus dat occasionem.... Tales
88. " Figurae sunt sim plices. aut compositae, aut ideales ad arsin, aut thesin. & IWlt te;<1us infinili. qui idealibus figuris deservi unl." Ibid" 1!l3.
periodum." Concl(ll'f!, 147. . . . 91. "Ut !igurae ideales SUU1l1 facianl effectum , & affectum, permuhu1l1 conduClml
89. " Debet porro Componista esse Poeta. ut non solum nont quanl1tates tenll1- particulae affectionales:' [H Affl!criolre. Themale. CapriCcio. el /'s),chophOflia. Ibid.,
nonun. sed d iam inventiosus sit thenlatum. Debet esse ideosus, & quodammodo piclO r, ch.S, 154 .
ut sciat per figuras musicas Rhetori ca! hypotyposes, & prosopopaeias idealiter elevare 92. See f(lpOl}pmi.f and /'oll/opoeia, below.
amplius, ac res pulchras, vel horridas cantu vivatiter ante oculos aud ientium propon.ere. 93. " Idea lIlusica, imago rei decantatae. Idea haec idem, quod affectU5 figurae
... Debet compositione semper eo lendere. ut proposilum affectum as~uatur; lmo h)'pOthiposeos:' COllc/Ole,!l.
nullum. quantum fieri potes!, texlUm ampere debet. ubi non sint verba ad affectus "pta. 94. Sonnino. Halldbook. 24. 26. Quintil ian 's definition of pnronomasio mentions
Debe!: scire antitheses, prosonomasias, aliasque figuras rhetoricas, quarum usus est two forms of the fig ure: the repetition of a word with a change of case ending, also
in Musica." Ibid., 144. known as PUI)plOlOn. and a repetition of a word ""1th greater (but unspecified) emphasis.
130 Vagi J G. Wlillher 131

Before defining thefigurae ideales. Vogt points out that they can purely musical terms whi le. of the rhetorical terms, polyplOIOIl is
affect either a part of or the entire periodus or passage.9S He suggests defined as a purely musical device. The other seven terms are given
that some figures are used at the beginning of the periodus (ad arsin ), definiti ons which corre spond in some way to their rhetorical meaning.
such as the al/tilhe/oll or schematoides. while others are used at the end The remaining len tcnns had all appeared in the Figurenlehren of either
(ad tiles;,,) , such as the anaphora. 96 Yet others can be used i" medio. Burmeister. Kircher (Jano\J..a ). or Ahle . In some cases Vogt defines
such as the clima:c or tmesis. However, in hi s definitions of these and them as Ill S predecessors did. \\hile at other times he suppl ies the tenus
other figures. Vogt does not limit their use to any spec ific part ofllie ,\ith ne\, definitions. Fi\e of lhese had been included by Burmeister in
periodus or musical passage. Rather, his definition of anaphora sug. his treatises: alladiplosis. allap!mra, aposiopesis. climax. and synaere-
gests that the fi gure can be used throughout the composition, while a sis. Vogt only retains Bunneister" s definition o f aposiopesis, while
c!imat or tmesis would also be very effective at the end of a periodus. adopting Ah le 's anadiplosis de finition. Vogt shares with Kircher and
Presumably he simply wishes to indicate that the figurae ideales can be Janovka both the terms and de finitio ns of anabasis, calabasis, ana
used in various parts of or throughout (ad periodllm) the composition . phora, al1firherOIl . and c/illlm'.1<lOovka s influence can also be detected
The allusion to ad ars;n et thes;n would thus be understood as a general in Vogt's definit ion o f /a/so bordol/e. found in the glossary at the
reference to rather than specific application ofthefigllrae ideates . begilUling o f the COllc/me. In addition to using this Italian ternl to
Vogt then lists and defines twenty figurae ideales. All the fi gnres identi fy the fallx bourdon, only these two authors describe it as a
are labeled with Greek terminology. reflecting his concern to establish pleollaslIllfs or isobarlfs. a fo rm of chordal chanting. Two additional
a relati onship between the ancient art of rhetoric and the musical terms, epanalepsis and polysyndelon. had also been used by Ahle. In
rhetorical tradition. In contrast, the "modern" jigurae simplices are both cases. however. Vogt detines them differently. Many of Vogt's
given contemporary Italian names. vogt's list ofjigurae ideales does definitions were 10 appear in Walther's Lex;coll. In addition, vogt's
not suggest a dependence on any other specific musical Figurenlehre. Figllrenlehre would signifi cantly infl uence the writings of the Benedic
Rather, he includes figures fOWld in various preceding treatises, at times tine monk and music theori st Meinrad Spiess.
supplying them with divergent definitions. Half of Vogt's figure s are
mentioned for the fllSt time in his Conclave: antistaechon, apotomia,
ecphonisis. emphasis, epalladip!os;s, ethophonia. metabasis,polyplotoll, JOHANN GOTTFRIED W A LTHE R
schematoides. and tmesis. Of these, apolomia and schemaloides are
j also
ohann Gonfried Walt her ( 1684- 1748) was born in Erfurt. where he
recei ved his education. After graduating from the local Lalein-
schu/e, he matriculated at the Erfurt University to study law. Before he
Peacham Ihe Elder supplies another variation of the paranomasia {sic ). namely as "a
could complete his university education, Walther decided to devote all
figure which de<:lineth into a contrarie by a likelihood oflettert, either added, changed.
or laken away." The Garden a/Eloquence . .56. Vogt may have been using the leOTI of his time to pursue a musica l career. He became not only an outstand-
prosononrosio in the more generic sense ofvariou! word repetitions. while specifying ing organist and composer for that instrument but also a notable music
the polyp/a/on in his defi ned list of figures. See Polyp/O/on and Paronoma.sia, below.
theori st and lexi cographer. In studying the treatises of such influential
9.5 . "Capll/ IV. De Figuris ad Arsin. et Thes'n. e/ Periodunr. Figurae ad arsin. &
thesin Sunl, quae non concemunt totam periodum, sed solum in parte, & vel maxime in writers as Werckmci ster. Fludd . Kircher, and Thiele, Walther acquired
principia ponuntur; ut sun! anlitheta, schematoides &c. Aliae obveniunt media, ut a comprehensive knowledge or past and contemporary music theory and
climax, tmesis. Aliae veniunt ad finem, ut anaphorae .!te." Conclave. 1.50. history. Walther al so became a good friend of Werckmeister, who was
96. Although VOgl relates arsis and thesis to the first and ~ond part of a tactuS
in his inlroductory glossary ("Arsis. divisi tactus prinlUm medium. Medium altenlln significantly 10 influence the yo unger musician's writings. In 1707 he
dicilUf Ihesis." Conclave. 2). he presumably uses the ICnt\S al this point to refer to the accepted the post of organ ist al \Veimar's principal church, SI. Petri lind
beginning lind end of the pe,.ioous or musical passage.
132 1. G. Wallher J. G. Walther 133

Pauli. a pOSItion he held until his death. Simultaneously, he was fugue among his fundamental figures. Here Walther's authority is not
appointed music teacher to Prince JOhaIll Ernst, nephew to the Weimar Benthard but rather lllUringus and Kircher. Like them, Walther counts
duke . Walther and his cOllsin, J . S. Bach. became close friend s and the three fundamental contrapwltal devices of imitation, suspension, and
colleagues during their common sojourn in Weimar (1708-171 7). passing dissonance to llUs class of basic figures , while at the same time
During these early Weimar years. Walther al so '\'Tote his Praecepru de,. using Bernhard's terminology,figuraefundamentales, rather than the
mlisicaJischen Compositio1l. 91 Between the years 1726 and 1738 the older tenn . jigllrae principaJes. Walther's concept of the musical-
organ at St. Petri IIl1d Pauli was under repair. allowing Walther more rhetorical figures is broader than Bernhard's, allowing him to incorpo-
lime 10 complete hi s Milsica!isches LexicoII,on rate the Figurenlehren o f other writers as well. Thus Walther also
Walther 's PraeceprQ is largely a compilation of seventeenth. makes reference to Ahle's purely rhetorical figw-es, albeit without
century musica poelica treatises. While the first part concerns itself\\ith definitions. when he di scusses musical text expression: "A composer
rudimentary musical concepts. notation. and tenns. its second and most might also employ various rhetorical figures in elaborating a text ... for
substantial part deals with the art of composition. Here Walther dis- example. the epi;eIL\;s. which is the most common and emphatic, the
cusses the intervals and chords together with their proporti ons, voic e anaphora, synonymia. anadiplosis, epistrophe, epanaJepsis, and so on.
leading and counterpoint. the church modes. the use of consonance Ilnd However, care must be taken to avoid excess ... 100 In defining the figurae
dissonance, together with the musical-rhetorical figure s. and proper superficiales. Walther adopts Bemhard's (Bericht) list of those figures:
text-seuing. He calls this part of his treatise Mus/cae Poeticae, referring sllperjectio, slibsumptio. variatio, mulliplicatio, ellipsis, retardatio,
both to his treatise and to the discipline which it describes. heterolepsis, abruptio. and quasi transitus. Walther also frequently
Like Bemhard, Walther incorporates the musical-rhetorical figure s models both his definitions and examples on Bemhard's. Both authors
into his discussion of dissonances, indicating however that his explana- Wlderstand their musical-rhetorical figures as dissonances in a composi-
tions of the dissonances are based on Calvisius.1l:trough them "one can tion resulting from composers emulating the embellishments which
comfortably proceed from one interval to the other without leaps; one singers and instrumentalists were using in their perfonnances. Further-
can inflame the composition through them. if it is required by the text: more, both affinn that contemporary music might be compared to
and one can vary and embellish a composition with them. In summary. rhetoric because of its multitude of figures . 101
variety delights.'''''' Walther then proceeds to define the suspension In his Musicalisches Lexicon, the first comprehensive Gennan
(syncopalio, ligatura) and the passing note (trallsillls, commiss llra). music dictionary. Walther seeks to incorporate the accumulated musical
Before defining the remaining figures , Walther states that the syncopa-
lio and IronsilllS. in addition to thejilga. constitute the jigllraejimda-
mentales. While Walther's main source for his Figurelllelrre is l3crn-
hard' s Berichl. he deviates significantly from Bernhard by including 100. "Es mag zwar wahl ein Componisl in elaborinmg eines textes unterschied!.
rhetorische Figuren anwenden (vid: Joo. Georg Miens musical. Sommer Gespriche pag:
16 u. 17) Z.E. die Epizeuxin, als die gebriuchlichSle und emphatischsle: die Anaphoram,
Synon)mianl. Anadiplosin. Epistrophen, Epanalepsin, u.s.f. doth soH er aHezeit das 'Ne
97. The Prueceplu der nwsicalischen Composition is dated 1708 and is dedicated
quid ninlis!' vor Augen haben."lbid., 158 .
to his student. Prince Johann EnlSt. The manuscript remained unpublished unlil1 955
(Leipzig: Breilkopf & H!l11e1 ). ed. Peler Henary. 10 1. "Allein in 15 seculo. haben die Componislen allbereit angefangen. eines und
das andere Zli set zen. was dencn vorigen unbekannt. auch denen Unverstllndigen unzu
98. Mlisicalisches Le:<:icolI, ode/" Mllsica/ische BibliOlhec (Leipzig. 1732). WAlther
UIPlich geschienen: guten musical. Ohren aber alUlehm1. gewesen: denn nachdeln sie ob-
completed a revised manuscripi oflhe dictionary, which has remained unpublished.
scrviret. dap kilnstl. Slinger und Inslrumentisten von denen NOlen hier und dort
99. " Und zwar krum man vermittelst dersc[ben 1) von cinem Tntervallo ZUni andem
abgewichen. und also andere anm uthige Figuren angebracht, haben sic wlche
desto bequehmer. und ohne SprUnge lommen. 2) kann man eine Harmonie, wenn es
nachgehens auch gesetzel. dap nlUlfllch r wisere heutige Music wegen Menge der Figuren
nem!. der Text erfordert. durch sie exasperiren. und 3) kann man eine Composition
fligl. einer Rhetorica zu verglekhen ist." Ibid., 152. See also p.114. n.50. and p.IIS.
durch sie verllndem und ausschmticken. ln SUITUna: Varietas de1ectat: ' P'(Jt(;epw. 140
n.63, abo ve.
134 J. G, Wafther J. G. Wal/he,'

terminology known in hi s day . As expressed on the title page, the onl) rhelOrically hut rather. like Ahle. assumes that the composer would
Lexicon or "musical library" includes both biographies of musicians express th~ rhetorical fi gure found in a text through the accompanying
who have distinguished themselves through their theoretical or musical music . I lowe\ cr. Wa lther does not include all of the rhetorical figure s
contributions as well as Greek, Latin, Italian, French, and German which were listed b) Ahle. Omiued arc Ahle ' s Jynonymia, asyndeton,
musical terminology. all ordered alphabetically and defined by Walther. and PO~I s)'lIdeloll . rhetorical figures which can hardly be reflected in the
In contrast to a compositional treatise. which aims to identifY and Illusical composition. I V)
describe those musical devices and phenomena necessary for musical The term "musical -rhetorical figure" is fir st encountered in Wal-
composition, the content of the Lexicon is determined by the various ther' s Lexicoll. It is used in the explanation of af/apl/ora, where Walther
terms used to identify the devices rather than the devices themselves. includes the dclinil ions o f Thuringus and Janovka. Repetition, the literal
Walther is intent on defining musical terminology rather than musical meaning o f (mop/lOra. is as fimdamentalto musical as it is to rhetorical
devices. 101 As such, his Lexicon is the very first terminological and composition. I' urthennore, both disci plines use the term to describe a
historical music dictional)'. specific t) pe o f repetition. each growing out of its respective tradition.
For his definitions of the musical figures , Walther turns primarily In describing the figure as "musical-rhetorical." Walther does not wish
to the writings of Thuringus, Janovka, Printz, Bernhard, and Ahle . to indi ca te a dependency of music on rhetoric, but rather wishes to
These authors each had a distinctive concept of the musical-rhetorical indicate that thi s ligme.li ke many others. is legitimately both a rhetori.
figures, covering Figurenlehren based on contrapuntal ornatus (Thwin- cal and a musical expres~ ive device. The tennjigllra is defined simply
gus), expression of affections (Janovka), ornamentation (Printz), use of as "generally those mu sical signs which indicate the notes and their
dissonance (Bernhard), and rhetorical figure s (AhJe). Unlike Janovka, duration. pauses. and so on . ... The figure s which are formed through
who listed only Kircher's definitions under one tenn Figurae Musicae various combinations o f notes al so receive names according to their
in his Clavis , Walther lists over fifty figures, all arranged alphabetically. constniction."LfI.I I Ie then defines jigllra bombilal1s.jigura corta,jigura
His intention to define the myriad of terms employed by the various milia. and jigllm s/lspimllJ. These are not considered to be expressive
authors leads to an unavoidable duplication or repetition of definitions. or rhetorical ligures. but rather simple " figurations," analogous to
For example, the terms comp/exio, epanadipJosis, and epana/epsis are Printz's understanding ofjigurae or variariolJes.
all described as a passage which begins and ends with the same mate- Walther does not di smiss former Figllrenlehren as antiquated, but
rial. While Thuringus is his source for comp/exio, the terms epana- blends the pasl with [he present in his Lexicon. By integrating sixteenth-
diplosis and epanalepsis are used by Vogt and Able, respectively. and se\enteenth-century sources, he amasses a stock of musical tenni-
Similarly, the passing note is listed or defined under celeritas, commis- nology and ddiniti ons at the end of an era. l1lUs "the historical occiden.
sura, symblema, and transitus. Frequently, although not consistently, tal concept of lIllisic remains operative and detenninative: the past is yet
Walther lists the divergent explanations assigned to a single tenn by present. without having becoming histol)'. " 10'
various authors, as exemplified in his definitions of anaphora and
climax. Also noteworthy is Walther's inclusion of purely rhetorical
definitions of some of the figures. The epanadip/osis, epanaiepsis, [OJ . l'ofpyndCIOIJ and I.\7wrlymia are listed by other authors. however. with
epanodos. epistrophe, and epizeuxis are described as literary rather than musi cal definitions not stri ctly modeled on their rhetorical eounterpans. See
musical devices. lbis is not to suggest that Walther understands them POlys.l lldelOlI anI.! J:II1QIlYIIIW. below.
10-1. "Figura, . . a[so werden Ilberhaupt aile eintze[e in der Music gebruchliche
Zeichen. so die Kl (illI!;C. derl'l Gelnmg. die Pausen u.sJ. andeuten. genennt .... Die aus
~lichen aufverschiedene Art zuwnmen gesetzten Noten bestehende Figuren. haben von
102. Hans H. Eggebrecht, " Walthers Musikalisches Lexikon in semen tennino- Ihrer besondem Geslilit auch bcsondere Nahmen." 1A.'icon.
logischen Panien," AClo Muskologia 29 (1957): 13. 105. Eggcbrhl. "Walthers Musikalisehes Lexikon." 13 .
136 A!altheso/1 MottheUJn 137

J OHANN MATIHESON the affections. While he defines me ornamental embellishments, referred

to as jiglfrae cantiolles or Maltieren in the third chapter of part 2,101
ohann Mattheson (1681 ~ 1 764) was born in Hamburg. where he also
j established himself as an accompli shed opera singer, co mposer.
other musical-rhetorica l figures or figurae camus are discussed in
chapters 8. 9, and 14. Chapter 8 focuse s on emphasis or appropriate
church musician, music critic, and theorist. "li s fonnal education ended word expression, while chapter 9 deals both with musical antithesis and
in 1693 with hi s graduation from the Johmmellm. a Hamburg GYl1llla_ with the appropriate expression of punctuation found in the lext,
s ium. Mattheson was extremely well read and continued to keep abreast including caesurae. exc lamat ions, questions, and parentheses. In the
of the musical literature throughout his life. contributing substantiall y final chapter of part 2 Mattheson first explains the musical-rhetorical
to it himself. At the age of nine. he had already established him self as process and then discusses the musical-rhetorical figures. Mattheson
a fine singer and organist in Hamburg and was asked to j oin the Ham - puts much more emphasis on developing a rationalized framework for
burg opera company, which he considered his "musical university." lOb musical expression and composition than on presenting a systematized
In the foll owing years he would distinguish himself both as a composer list of expressive musical devices. He explains the process and parts of
and conductor of the Hamburg opera. In 1706 Mattheson was appointed a musical composition entirely through rhetorical procedures and
secretary to the Engli sh ambassador. Through hi s travel s on diplomatic temtinology. Like the orator, the composer can arrange his composition
missions, Mattheson was able to meet many famou s musicians and through the process of il/venlio, dispositio, and elaboratio or decoratio .
composers ofrus day, including Farinelli, Venturini , and Kulmau. He Having covered musical invenlio-inciuding the loci topici----eariier in
was also a close friend of Handel, TelemalUl, and C. P. E. Bach. (In this part of his treatise (chapter 4), he now turns to the other two
1703 Mattheson traveled to LUbeck with Handel to investigate the musical-rhetorical steps. Like the oration, the musical dispositio can
organist position left vacant upon Buxtehude ' s death. Presumably also have its exordium. narratio. propositio, conjirmatio, conjlltatio,
because of the associated marriage to Buxtehude ' s eldest daughter, andperoratio, \\11il e the musical-rhetorical figures find their appropriate
neither Mattheson nor Handel decided to take up the ofTer.) Mattheson' s place in the musical elaborario or decorafio. 109
works number eight operas, twenty-six oratorios and passions, and. It bas been pointed out that Mattbeson presented a substantially
besides other miscellaneous vocal and instrumental works, over two modernized view of the musical discipline, speaking "as the rational
dozen published books, articles, or editions. 107 man of the Enlightenment. a musician who believed in the progress of
Mattheson's most important publication is hi s book Der vall- his art, ... (who] honoured the musical past, but in general found very
kommene Capellmeisrer (Hamburg, 1739), a vast, encyclopedic presen little in that past to preserve fo r the future.,,110 For Mattheson, the power
tation of all the musical knowledge which he considered essentia l to of music was rooted in nature rather than mathematics, in empirical
church or court musicians. Mattheson divides the text into three parts. observation rather than theoretical speculation, in melody, ultimately,
The first part deals with fundamental historical and rudimentary mailers. rather than in counterpoint. It is not surprising, then, to find that Mat-
The second part focu ses on the composition of melody, considered the theson' s concepts of the affections, figures , and musical rhetoric are tied
basis of all musical composition by Mattheson. The third part di scusses to melodic rather than to contrapuntal composition.
contrapuntal composition. It is in the second part that MaUheson With the eighteenth-centuI)' emphasis on "natural" melodic expres-
presents his views on the concepts of musical rhetori c, the figures, and siveness. coup led with the innuence of French and Italian ornamenta-

106. George Buelow. " Mauheson," Nell' Grow! Dicljonary. 11 : 833. 108. "Von der Kllns/ :ierlich :11 singen und:;u sple/en." Capel/meister. 109ff.
107 . Except for a few instrumental pieces. one early opera, and only one of his 109. "VOI' der Melodietl Eillrichlung. Ausarbeilung und Ziercle." Ibid., 23jff.
oratorios, all of his music was destroyed in the World War II bombing of Ha mburg. 110. Buelow, "Mattheson." 834.
138 Mallheson Mallhesmr 139

tion, the contrapuntal-oriented classification of the figures begins to the instruments arc allowed 10 speak intelligibly and understandably
give way to categories based on melodic Empfindung or sentiment. through their notes." II} ivlatthcson acknowledges that his emphasis on
Except in the early writings of Walther, the classification of the figure s melody as oppo!>cd 10 counterpoint was ullconventional. II. It reflects the
intojrmdamentafes and superjicia/es no longer appears relevant in the growing imponance o f a ne\\ uesthetic. one based on naturalness and
eighteenth century. These categories, like the figurae principafeJ and expressi\i[). 011 the importance o f the perfonner rather than only the
minus principales before them, are based on a contrapwltal rather than composer. on the ex.pressioll of the affections through prommciatio
a melodic understanding of musical composition. The contrapuntal rather than on ly through dispoS;f;O and decoralio. Increasingly. the
devices used by the composer become understood merely as elementary embellislunents rather than onl) the composition asswne a role in
compositional tools, while the ornaments applied by the perfomer are presenting the a ITcctions. ' H Throughout the following decades a new
given an increasingly important expressive role. Vogt had already music aesthetic would replace the predominantly Lutheran, theologi-
included the ornamental embellishments in his Figurenlehre, bri nging cally determined and dogma tically objectifi ed concept of music . The
together thefigllrae simplices, as he called them, with the musical- ';sensitivc" perforn1er would begin to replace the infonned melo-
rhetori ca l figures, which he termedfigurae ideales, instead of adopting poeticlIs. and EmpfiJ/dsomke;r \\ou ld take the place of mllsica poerica.
one of the contrapuntally oriented classifications. Significantly, Matthe- The musical adaptation of rhetorical tenninology and processes was
son includes his di scussion of both figurae canfiones and [tgurae not simply the result of i1 musical imitation of rhetoric. Since antiquity
cantus, as he call s them , in part 2 of Der vollkommene Capellmeisler, both disciplines had shared the (Olllmon purpose of expressing the
which deal s with the composition of melody, rather than in pan 3 which affections. Music adopted rhetorical tenninology throughout the
concerns itself with polyphonic and contrapunt!11 issues. I II In choosing Renai!>sance and Baroque 10 explain its own unique and distinctive
this tenninology, Mattheson wishes to distinguish between the embel- expressive dC\liccs. highlighting those elements which it shared with
li shing figures which are applied to the melody (cantio) by the per- rhetoric but not structll!ing itsel f 10 be aligned with rhetoric. These same
fo rmer, and the expressive musical-rhetorical figures which are inte- princ iplcs which had already dictated Bunneister's Figurenlehre were
grated into the composition (cantus) by the composer. now appl ied by Matthesoll in his explanations of a rhetorically struc-
Mauheson's strongest statements regarding the expression of the tured composition. He emphasizcs that while a musical disposirio can
affections are also placed in his chapter Von der Melodie: "The princi- be di scerned in many compositions. j ust as in thc speech of "a naturally
pal element in musical composition is the art of constructing a good gifted. ullschooled orator. . . . most composers would sooner contem-
melody.... in setting a melody. our primary purpose is to establish the plate their dcath rat her than such II st ructure."II() For Mattheson, it was
affection . . .. in sununary, everything which occurs without praisewor-
thy affections signifies nothing, accomplishes nothing. and is worth
nothing.,,112 This is as valid for instrumental music as it is for vocal 113 . [bid .. 127. 45 ,
music: " But one must remember that even in purely instnunental. 1 t4, Ibid .. 133. 2~ .
textless music. the intention of every melody without exception must be 115. 111c imponanc!! of QIlHlmel1!~J embe[ lish ments in portraying the affections is
one of the main points in C P. E. Bach's VerSllch libel' die U'(/h,.e Art das Clavier::u
directed toward the presentation of the reigning affection, in order that :piefen (Berlin. 1753. 1762),
~ 16, "Es ist zwar den allerers!en l'omponisten eben so wenig in den Sinn ge kom.
men. thre Satze nach obiger Ordllung einzurichtcn. als den lIIit naHlrlichen Gaben vcr.
III . Capel/meisler, 244. 50. (See p.1 42. n.128, belOW.) Both tenns. cantio and ~ehellen ungelelll1en RcdilCIll. solehen ~e-chs StUckell gellan zu folgen ... Dennoch aber
C(lItIILS. are derived from the Latin verb conere (cantare): to sing or play. In his Lexicon. I~ nieht zu lcugnen. dap bey f1ei~iger Unters uchung sowol guter Reden als guter Melo-
Walther understands a cantio as a song ("Lied"), while he defines camus as a compo- dlen. sieh dicse Theile. odel die meisten davon. in gcschickter Folge wircklich darin
sition ("ein Gesang,. antreffen lassen: ohglcich mallChe~ mahl die Verfasser ehender auf ihfen Tod. als auf
112. Ibid . 13 3. 145. 146 ( 2. 74 , 82). solchen Lcirraden gcd~cht hah-ellillogen. ahrondcrlich die Musici." Capellmeister. 235.
140 Malthes on M at/helOtI 141

natllra rather than scientia which was the ultimate teacher. Instead of figure s consist of various word repetitions which can easily be applied
relying on theoretical treatises. the composer could model hi s composi. to single notes. TI1efiglll'ae selllemiae, on the other band "affect whole
tions on the "naturally gifted, unschooled" folk music. In hi s O\\In sentences through their variations, imitations, repetitions, etc., etc.',121
compositions, Mattheson "achieved a melodic and at the same tim e vcry In the footnote Mattitesol1 points out that these figure s, "through which
expressive simplicity," taking care "in maintaining poetic meters and in the entire sentence is accorded a certain affection, ... can be looked up
general avoided long melismatic passages," with a "striking emphasis in rhetoric textbooks. almost all o f which can be applied to the
on folklike songs, often strophic in fonn ."m The existence of the roelody.', m Mal1hcson regards the musical figure s as virtually identical
musical-rhetorical figure s is taken for granted by Mattheson . not only with their rhetorical counterparts, being so closely related "and having
because theorists had long since elaborated on them and composers had such a natural position in the me lody, that it almost appears as though
long since been using them, but because they were to be found in the Greek orators derived their figure s from tbe musical discipline .',m
natural musical as well as linguistic expression. Asswning the reader's As word fi gures Matthesoil lists ep;zelL'Cis (sllbjunctio), anaphora,
familiarity with the musical rhetorical figure s. Mattheson asks rhelon epcmalepsis, epistrophe, (madiplos is, paronomasia, polyplotoll, antana
cally : "What can be more common than the allaphora in melodic clasis, and ploce. The only sentence figures he lists here are exciamat;o,
composition? . . Who caIUlot be aware of the exclamation's use? .. parrhesia, paradoxlIs, epamorhos is, paralepsis, aposiopesis , and
Where is the parrhesia more forceful than in melodic composit ion?"'" apostrophe. At lhis point Mattheson notes that he has already discussed
Mattheson begins his discussion of the musical decO/'ario the Exciamat;ollen in an earl ier chapter, indicating that he interprets
(AusschmiickulIg) by reminding the reader that "thi s depends more on those devices as well as the ot her punctuating caesurae such as pauses,
the ability and healthy discretion of the singer or instrumentali st than on questions, and parentheses as jjgures. l 24 Of all the authors, Mattheson
the directives of the composer. However. the composer must include a attributed the most significance to the musical expression of a text's
certain amount of embellishment in his melodies. To this end, the many punctuation. Whi le composers had long since expressed both the words
rhetorical figures or ornaments can prove most useful , if they are and punctuation of the text in their music, it remained for Mattheson to
skillfully applied ." 119 Like Able, Mattheson turns to the rhetorical fully integrate these dev ices into a musical rhetoric, thereby increasing
figures as his source for tbe musical devices. Both thefigurae dicliollis
(word figures) and the figurae sententjae (thought figures) could be
employed in the musical composition. He maintains thai the word
in music behave in !he sanle wa)' as do words in language" (" Figures of Rhetori c," 21 ).
figures "bear a striking resemblance to the varialions in duration or Manheson is clearly poinling to similar methods rather than to similar " behavior." the
placement o f the notes.,,120 In a footnote Mattheson slates that these litter sugges!ing a seman tic nUher than onl)' a procedural analogy.
121. Ibid.
122. "Spruch-Figurcn, dabey der gantze Spmch ei ne gewisse GemUths- Bewegun g
ebthAlt, kommen entweder ausser. oder bey der Unterredwlg vor. Ihrer sind 11, die man
111. Buelow, " Mattheson," 834. in den Rhetorickell nachschl agell und fast aile in der Melodic brauchcn kan." Ibid . 242.
118. Ca~lIme is/er. 243. footnote. Matt heson mentions tha t Ihere are twelve " Wtlrter-Figuren" and seventeen
119. " Wcrm wit endlich noch ein Wort von der AusschmUckun g machen mUssen. "SPruch Figuren." Unfort unatel). he does not cite his sourte. Mattheson's COlltemporary.
so wird hauptsllchlich zu crinnem nOthig seyn. dap solche mehr auf die GC5chickliCh~eit Johann Christoph GO!lscbed. lists Iwentyonejigurae die/ianis and twenty-threejig urae
tmd das gesunde Urtheil eines Slingers oder Spielers, als auf die eigentliche Vorschnm sefl/enliar ll flt in his A lI.ifilhrliche Heddl/lISf.
des melodischcn Setzers ank6mmt. Etwas Zierath mup man seinen Melodien beilcgen. 123. " .. . baben solche nalUrJiche Stellen in der Melodic, dap es fast scheinet. als
und dazu k6nnen die hliuffigen Figuren oder VerblUmungen aus der Redekunst. weM hltten die gri echischen Redner sothane Figuren aus der Ton-Ktmst entlehnet." Ibid.,
sie wol angeOfdnet werden, vomehmlich gute Dienste leisten." Ibid., 242, 40. . 243, 46.
120. "Die FiitiTen welche man dictionis nennet, haben eine grosse Aehnlichkeit mIl 124. "Von den Ab- I/Ild imcirniften der Klang-Hede ." ch.9. In addition. the
den Wandelungen der Kilinge in lange und kurtze, in ste igende und fallend e etc." Ibid. , ~phasis, which is also a rllt'lorical figure. is dealt wi th in chapter 8. Scheibe lists both
242, 41 . This should not be construed to mean. as Vickers seems to imply, "th at nOl es QClanWfio and inlen'ogario as specific fi gures.
142 Mallhe.fon M atthf'SOI' 143

the correlation between the disciplines. the mtlsical-rhetoric,,] figures. the "Mal/iere" thoroughly ruin many a
In addition to thesefigurae can/lis. Mauheson briefly alludes to the fin e melody and. as much as I admire the French instrumental style. I
" figure s of amplification. which nWllber around thirty, and which serve can no longer excuse it. when they entangle and disfigure their varia.
more as extensions, amplifications. ornaments. embellishments, Or tions to such a degree that one can simply no longer perceive the beauty
display than to thoroughly convince the spirit." Included here also is of the original notes."I:QI-Iowc\'cr. should the Mmlieren be judiciously
;'the famous art-work of fugue. including the mimesis, expolitio , applied. "they are not to be lightly esteemed, should they be included by
distribut;o , and other embellishments which are only rarely fruitful and the composer himself. be he a fine singer or instrumentalist. or be
find their home in this greenhouse of figure s."12' Both the rhetorical spontaneously added by Ihe perfomlcr. ,'lJO Matthcson deals with the
expolitio and distributio are figures which an orator employs to expand Manierell early on in this part of the treati se (chapter 3), where he
his argument, amplifYing his point through various repetitions and discusses the accellflls (Vorschfag, Uberschlag).lrem%, trillo , tril/ello,
divisions of his thesis. As such both the expolilio and distriblllio are not tenuta. groppo. c:ircolo lIIe::::o. lira/a. riballllta. transitus, mordant, and
only figures but rhetorical processes which can also involve other acciaca(IIJ"a. Apart from the {ransillls . Ihese orna ments were all re-
figures.l26 These techniques can be used both in the rhetorical as well as garded as figllrae simplices (var;atiol/es or Mal/jeren) by earlier
musical confilfatio. The relocation of the fugue from the jigllrae authors. Although Matlheson includes the /,.ansill/s (the passing note,
pri"cipa{es orfimdamentales into the category o f amplification figures also knO\\ 'Tl as cOlllllli.ssura. classified as one o fthefigurae prillcipa/es
is Mattheson 's innovation. His concern to establish parallels between or fimdam enta{es). he treats it simply as a melodic embellishment.
music and rhetoric again becomes evident through his desire to provide referring to it s ornamental character as well as to its ornamentation ,
a rhetorical "residence" for the fugue. m Thus he abandons the di stinc- without disc ussing Ihe resultin g dissonances. Like Printz, Mattheson
tion between the musically and rhetorically rooted expressive figure s supplies only monodic examples of the Man;e,.e" , disregarding their
inaugurated by Nucius. Only the melodic embellishments, the jigllrae harmonic impli cations. The accellllls is the only Manier which is
cantiones or Manieren, are understood as purely musical figure s. directly li nked 10 the ex pression of the afTections, while the groppa is
Mattheson wishes to distinguish clearly between the musical- considered mOSI useful if the intended affection "consists of similar
rhetorical figures and the Manieren. The two classes of figures "have turns and twis ts. '1)1
nothing in common and should not be mixed together.,, 128 ln contrast to Mattheson's concept of musical rhetoric , including the musical-
rhetorical ligures. mi ght be summarized as fo llows: j ust as music and
rhetoric share COll U1101l goals. so do they share common methodologies.
125 . "Noch eins ist zu erinnem. daj} nffimtich unler die grossen Erweiterungs- structuring principlcs, and expressive devices. \Vhile these were initially
Figuren, deren elliche drei~ig seyn werden. und die mehr zur VerlAngerung, Amplifi-
defined and S) Slem at ized by the rhetorical di scipline, they are equally
cation, zum Schmuck. Zierrath oder Gepriinge. als zur grUndlichen Uiberzeugung der
Gemlither dienen. nicht mil Unrecht zu zehlen ist das bekannte und berOhrrlle Kw\Sl- evident in and applicable to the musical art. 'l11ese musical phenomena
StUck da Fugen, worin die Mimesis, Expolilio, Distribulio samt andem Blilmiein. die "':hich are described in rhetorical tenninology have a long standing
selten zu reiffen FrUchten werden. ihre RtSidentz, als in einem Gewlichs-Hausc. history. And \\h ile it is helpfuJ 10 articulate this musical-rhetorical
antreffm." Capel/meister, 244. 52.
126. See Distributio. below. material. it can also be g leaned both from well-composed music and
127. Forkel would remove the fugue altogether from the Ffgurenfehre, trealing il from naturally gilled music al expression through empirical observation.
as a highly expressive genre instead of an embellishment.
128. " Vor Zeilen haben Wlsre geldute Musici gantze BUcher in ordentlicher Lehr
Art, von blossen Sing-Manieren (die ich Figuras canlion!s. so wie die vorhergehenden
Figuras cantus nenne) lusamrnen gettagen, welche mil den obangefUhrtm gleich wol 129. Ibid 242. 41.
keine Gemeinschaffi haben. und mil dense1ben nichl vermischet werden milssen: 130. Ibid" 43.
Capel/meister. 244 , SO. 13 1. See Accem"s. Groppo. betow.
 Spius Spiess 145
144

MEINRAD SPlESS advocate of the a cappe/fa style. Although the Troclalus is liberally
sprinkled with disparaging remarks regarding the modem musical
einrad Spiess (1683- 1761) was a Bavarian composer and styles. Spiess docs recognize a stylus mixfils. which he defines as "a
M theorist. After entering the Benedictine Abbey at Irsee in 170 I,
he was ordained a priest in 1708. Following four additional years of
mixed Churc h- style, namely when a composition of one to four voices
and concertizing instruments is advanced with arias, contrapuntal
music study in Mwlich, he was appointed music director at the Abbey. \\Titing. and fugues. yet in such a marmer that the boWlds of dignity and
a position which he held until his death , Although he seems to have modesty befitting church music are not overstepped."m The ideal
done little traveling, he did stay in contact with other musicians. He was composi tion is to be fa ci le. clear, fl owing, and channing: "Facile is that
a member of Mizler's Correspondierende Societiil der mllsicaliscile" which is easi ly grasped and therefore quickly understood . If something
Wissenschafien in Leipzig, along with J. S. Bach, Telemann, Graun, and is facile. il is also dear: and if a number of clear things are appropriately
Handel. Leopold Mozart was also part of his circle of acquaintances, cOIillccted. we perceive them to be flowing; and that which is clear and
frequently sending Spiess his compositions for correction. flow ing is usually channing."I16 Although Spiess warns against all
In 1745 Spiess published his compositional treatise Tractatlls excesses. he does admit that "something rousing, lively, and brisk can
mlisicllS, in which. "based on the best past and recent authors, the also be presented in churches, particularly if it is required by the
fundamentals of musical composition are extracted. gathered, compared. text.,'1)7 While ascribing to an essentially conservative concept of music,
explained, and clearly illustrated with examplcs."m The "past and Spiess does not remain untouched by more modem musical thought.
recent authors" include Kircher, Vogt, Walther, Heinichen, Mattheson, Also more progressive is his adoption of Heinichen 's and Mattheson 's
and Scheibe, among many others. With this disparate li st of sources, it concepts of an expressive musical rhetoric. Like them, Spiess also
is understandable that the concepts presented in the TractafllS would be proposes the usc of the loci rap ici in musical invention . Like Mattheson,
eclectic in character. Spiess adopts the speculative mathematical Spiess bOl h includes a chapler dealing with the caesurae in the text:
explanation of music, characteristic of seventeenth-century 1nusica " VO/1 del/ell il1- und Absclmitten" (ch.24), and advocates a musical
poetica, "that music is nothing else but clearly sounding numbers, and structure analogous to the rhetorical "Invention, Disposition, und
is therefore reverberating Mathematics. "m He also holds to the superi- Elaboration" (ch.25).
ority of the twelve church modes over the major-minor tonal system . Out of his concern to express the text in a "facile, clear, flowing,
Being a treati se written primarily for the composition of "skillful , and channing" manner, Spiess includes a discussion of the musical-
contrapuntaL serious and dignified church music (which is the primary rhetorical figures in his Tracratlls (ch.27). He begins his explanations
purpose and only goal of my treatise)," I1~ Spiess proves to be an ardent

135. "Venllischler KirchenS!y] ist, wann die Composition mil I. 2. J. 4. oder auch
132. "True/alliS nlllsiclIs comp(lriIQlio-practic!u. On ist. Musicalischer Tractat. til mehreren Stilllmen lind cuncenirenden Instrumenlis theils Alios':, Iheils auch mit
welchem aile gute und sichere Fundamenta zur Musicalischen Composition aus denen Wltemlellgten ContTllpuncl. Fugen elc. solchergestalt fortgefilhret wird. dap man jedoch
alt- WId neuesten besten Autoribus herausgezogen, zusanunen get ragm. gegen einander die GrMtzen oder Schranckell der kirchl ichen Gra\'lt!it und Modestiae nicht
gmalten. erk.Ilret. und mit UIltersct71en Exemplen dennassen Idar und deutl ich erlluten ObeN;chreite:' Tmcrafus, 161: Federl. ''Ikr Tractatus Musicus." 44 .
werden." (Augsbu rg. 1145; 2nd printing, 1146). 136. "Leicht heisset man alies das, so dcutlich in die Sinnen !liltl: Imd dahero vom
IJJ . " ... dap die Music nidus anders sey. als lauter deutliche tMnende Zahlen . Verstand bald kiln begriITen werden. Wann eine Sach leicht ist. so ist sie auch deutlich;
und ein klingetlde Mathematic." T,.OC/aIlU, 3. und wann \'erschiedene leichle oder deutliche Ding gehl:lrig verblmden werden, so
134. " ... cine gule Conlrapuncti5cl1e I GraviUIt- und Majest51ische Kirchen-Musik heissen wit sie fliepend. und was fli qlend und deutlich ist, das ist aoch mehrel1lheils
( von welcher hauptsllchlich 7..u schreiben mei ne lllehreSle Absicht und glinuJicher lieblich: ' Ibid.
Endzweck iSI)." Ekkehllrd Feder!. " Der Tractalus Musicus des Pater Meinrad Spi ~P 137. "Etwas excitates. lI\unteres, fri sches. zumahlen es sonderlich der Text
(1683 - 1761)," Feslsch,.ijI Bruno Sliibleil! (Kassel: Bftrellreiter. 1967): 40. erfordert. kan man in der Kitchell am:h wohl anbringen." Ibid.
146 Spiess Spiess 147

by differentiating between the symbols of musical notation and the supponed by his use urlhe tenn Manier in the definition of silperjectio
expressive-ornamental devices, both known asfigurae musicae, stating and in the sentence which follows thai definition: "Other vocal and
his intention to elaborate on this second understanding offigura: "These instrumental Maniel'en could al so be mentioned here.,,14J
musical figures accomplish the same thing as do the rhetoricalfigurae in examining both Spiess's li st of figures and their definitions, it
verborum and sententiarum. Just as the rhetorical figures enhance an soon becomes e\'ideo! thaI he chooses Vogt as the primary source for
oration, so do the musical figures provide no small delight to the refined his O\\ll Figllren/ehre. Not only does he refer to the melodic embellish-
ear."na This analogy to the rhetoricalfigurae verborum andfigurae ments as jigllrae simpNces, as Vogt had done, but of his remaining
sententiarllm is undoubtedly adopted from Mattheson. 119 Spiess does sixteen figures. only the teclmical devices--amicipario, relardario, and
not, however, elaborate on the difference between these two classes of dimil1l1fio-were not inc luded in Vogt"s list of figures. In addition, a
rhetorical figures, nor how they apply to the musical figures, which number of figures are only listed by these two authors, including
suggests that he wishes to apply them to music as an inseparable unit. QlItistaecholl. erlwphonia. metabasis . and tmesis. The remaining of
He points out that there are two classes of musical figures. The first Spiess's figures cat! be found in Vogt's as well as other Figllrenlehren:
category, also known as C%ratllren or Manieren , are the embellish- abrupTio. anabasis, catabasis, anapitora, allli/hesis, aposiopesis,
ments which he wishes "to leave to the singers, fiddlers, pipers, etc., and accen/IlS, emphasis, and imitatio.1H However, a further nine of Vogt's
experienced musicians to execute. "I40 Spiess goes on to say that he figure s do not find a place in Spiess ' s list. Neither does Spiess adopt
wishes, however, ''to write about some belonging to the second kind, Vogt's unique term for the musical-rhetorical figures,figurae ideales.
which should be familiar to the composer.,, 141 He then defines the By defining all of his fi gures, including thefigurae simplices, under the
figures in alphabetical order. However, instead of restricting himself to general heading ofjigurae musicae, Spiess considers it wmecessary to
the musical-rhetorical figures, Spiess in fact also defines many of the gh'e the musical -rhetorical figures a classification of their own.
melodic embellishments. He describes variatio as an embellishment of nle usc of the musical-rhetorical figure s to express and arouse the
the vocal or instrumental melody, thereby adopting the same term used affections is not emphasized in the fractatlls. Spiess simply mentions
by Bernhard, Printz, and Walther for melodic omamentation. 142 He also that the figures provide "no small delight" to the listeners. However,
Illentions that these variationes were calledfigurae simplices by Vogt . each of these ti gures is explained with reference to a text, either in the
Spiess then defines curta, groppo, circolo (circ% mezzo), tirata, definition or in the musical example. In contrast, thefigurae simplices
messama (misticanza), tenuta, ribaItuta, superjec/io, trillo, mordent, are consistently explained in purely musical ternlS, without reference to
and acciaccatura. That these ornaments are in fact identical with those a text in their definitions or examples. While the basis of the figurae
Manieren which he wanted "to leave to the musicians" is further simplices is an unadomed melody, the source tor the musical-rhetorical
figures is the tex!. Spiess thereby adopts mllsica poe/ica's text-oriented
concept of the Illusical-rhetorical figure s, even if this is not explicitly
138. "Es thlm diese unsere Figurlle Musieae eben das, was bey den Wohlrednem stated. TIle distinction between the two classes of figures , through their
die Figurae Verborum & Sententianun. Gleichwie nun die Figurae Oratoriae einer vol!- capacil)' to express the lext in addition to their use by either composer
kommenen Oration nicht ein schlechtes beytragen; also pflegen auch diese Figurlle Mu-
sitae einetn delicaten Gehor kein geringes VergnUgen zu verursllchen." Tractatus, 155 .
or performer. fw1her links Spiess ' s concept of the figures to that of
139. See p.140, above.
140. "Die erste, so in unterschiedlichen, ja tausendfaltigen Coloraturen, oder
sogenannten Manieren bestehet, wollen wiT denen Singem, SingeritUlen, Oeigem, pfeif-
fem etc. und wohl-geiibten Musicanten zur Execution anheim stellen." Tractatus, 155. 143 . " Hiehero grhiiren aueh noch andere, sowohl im singen, als auflnstrumenten
141. "Von der anderen An abeT einige, und zwar die ein Componist wissen soil, Uhliche Mallieren," 1'mc/aIllS. 157.
hier zu Pappier bringen." Ibid. 144. VOg!: defines the abruptio in his gloss~ ry at the beginning of his Cone/ave
142. See Variario, below. instead of under the list ofjigl/rae ideafes.
148 Scheibe Scheibe 149

Vogt. Vogt'sjigllrae ideales were also linked to text expression. wh ilf! Hamburg in 1736 where, with Telemann's encouragement. he began the
his figllrae simplices were regarded as ornamental embellishment s. publication of his music journal. Der critische Musikus. By 1740 he had
Although Spiess uses various treatises as sources for his own work. published sevenry-eight issues. which were collectively published in
including those of Kircher and Walther. he does nOI adopt their classi fi Leipzig in 1745 under the same title . The title o f the journal was
cation a fthe fugue. passing note , and suspension asjigllrae prillcipales influenced both by Mattheson' s earlier Hamburgjoumal, Critica musica
or /lmdamel/tales . In thi s regard, he also reflects the morc modem {I 722-25). as well as Gottsched's Versuch einer Critischen Dichtlomst.
concept afthe musical-rhetorical figures as exemplified in the works of Scheibe served as CapellmeioSter to Markgrave Friedrich Ernst of
Yogt and Mattheson . Like Vogt. Spiess discusses these compositional Brandenburg-Culmbach in 1739. and then to King Christian VI of
devices in separate chapters of the TractalllS ,141 'nlC sevcnteenth-cennlJ)' Denmark from 1740-47. Ln later years he established a music school for
ranking of these devices as the fundamental method of constnlcting an chi ldren and served as composer fo r the Danish court.
expressive composition no longer seems relevant. Lnstead. the a Oective Scheibe presents a musica l Figurenlehre in Der critioSche Mus ikus
and concrete ly text-expressive musical-rhetorical fi gures arc defined as which is directly modeled on Gottsched 's rhetorical Figurenlehre
the ideal methods of setting a text to music. Throughout the eighteenth contained in Vel'oSlich eiller Critischen Dichtkunst. Scheibe emphasizes
century the musical-rhetorical figures increasingly assume this affective "that the musical ligures provide the greatest emphasis and unconunon
purpose, at first being associated primarily with a text. subsequentl y vigor .. .. The ci rcumstances in music are the same as in oratory or
being transferred to instrumental music. as in Scheihe 's Figflrell/ehre. poetry. These two Liberal Arts would be left with neither fervor nor
The figurae prillcipaleoS or fimdamenta/eoS. on the other hand. find rousing spirit , were they to lose their use o f the figures. Could the
themselves treated as purely technical, compositional constnlctions. affections be expressed and aroused without them? Certainly not. For
the figure s are themselves the very language o f the affections, as
Professor Gottsched has thoroughly instructed in his Critische Dichl-
JOHANN ADOLF SCHEIBE kUl/oSt in accordance with P. Lallly.,,1'7 Mattheson 's suggestion that the
figures "can be looked up in rhetoric books. almost all ofwh:ich can be

j ohann Adolf Scheibe (1708-1776), the son of a well-respected organ

builder. was bom in Leipzig. where he also attended the Lutheran
applied to the melody," is realized by Scheibe. Instead of consulting one
of the many musical Figllre"lehren, Scheibe turns to the writings of his
Nickolaischule . In 1725 he began studies in law and philosophy at fonner Leipzig professor, upon whose rhetorical figure s be " wishes to
Leipzig University, which he had to abandon prematurely. Nonetheless.
he was at the university long enough to become acquainted with the
influential Johann Christoph Gottsched, professor o f poetry and rheto- mentions four ligures in th is ~arly (realise: anlicipalio, relarJalio, \'oriolio, and genentnr
Ve,,,.ecnse frtng. all more compositional devices thM musicalrhetori cal figures. While
ric. whose books on rhetoric were significantly to infl uence his own amicipaljo and rewroalio are fonns of suspension, I'arialio describes ornamental em-
writings on music. After leaving the university, Scheibe continued his bellishmen15. and gellerlllN V'''''ecnsefllng refers 10 the enharmonic rewriting of a note.
musical studies on his own. During this time he penned a compositional 141. '"Man wird mir alJerdings Recht geben, wetm ich behauple. dal) die Figurm
der musikalischen Schreibart den grof\tC1l Nachdruck und eine ungemeine Stiitke gebell.
treatise which remained unpublished in hi s lirctime. l46 He moved to
... Es ist damit in der Musik eben so. als in der RedekunJl und Dichtkunst, beschaffen.
Di ese beyden freyen Klillste wOrden Wieder Feuer, noch rtLhrendes Wesen behalten.
wenn man ihnen den Gebrauch der Figu ren enwehen wollte. Kann man wohl ohne sic
145. Spiess discusses slIspensions and passing notes in chapters 16- 18 and various die Gemiithsbewegungen erregen und RlIsdrtlcken? Keinesweges. Die Figuren sind ja
kinds of fugue in chapter 26 of his Tmc/all/.T. selbst eine Sprache der Affecten. wie solches der Herr Professor Gottsched in seiner
146. CompendiulIl musiees Iheorelica-pmclicl/nr . dus iSI Krrr::er Begrifl derer critischen Dichtkunst aus dem P. Lam! allsfUhrJich erilUlen." Der cri/irene Musikw. 68 3.
nOtilJsten Conrpruilions-Regefn (ea. I 130). published in Peter Benary. Die ,Iel/udr!! Scheibe notes that Gotlsched was influenced by Bernhard Lamy's Lo Rheto";qlle: 011.
Kompo.Jitjotlsfeirre des 18 Janrn lltlderlS (Leipzig: Breitkopf & Hlirtet, 196 1). Scheibe f'ol'l de parfer (4th ed., Pari s, 110 1).
150 Scheibe Scheihe 151

base the explanations of the musical figures, choosing those figure s is not suggesting that a figure- assumes a speci fi c. literal meaning in
which particularly belong to music.,,1.. The fact that Scheibe wishes to vocal music. \\h.ich is then transfe rred to instrumental music. In fact,
discuss those figures "whi ch particularly belong to music" points to hi s except in the case of Ihe dubirafio. whi ch is used to express doubt. the
belief that rhetoric will help explain those expressions already found in various fig ures arc not limited 10 certain affections but can be used to
music but not construct new devices analogous to rhetorical ones. Just heighten. repeat. alter. or vary Illusical expressions in various affections.
as Burmeister sought to define musical devices through rhetorical Whi le both inslmmental music as well as the musical-rhetorical figures
tenninoiogy and Mattheson wished to explain musical structure through fmd their origins in vocal music. il would be as inappropriate to assign
rhetorical principles, Scheibe also aspires to establish a musical spec ific. lileral contenl to a Ill usical-rhetorical figure as it would to a
Figurenlehre parallel to the rhetorical one. Music theorists throughout piece of inSlnunentalm usic. Figure s were developed in vocal music as
the Baroque emphasized the similar goals af the "sister di scipiines,"14' a result of composers seeki ng to express the affections prescribed by the
justifying the employment of common devices and principles. lexl. These devices can be used in inslrumental music similarly to
Scheibe applies the figures to instrumental music more consistently express tite a ffections. The dllbi r(1/io. for example. is used in vocal
and extensively than any author before him. While he emphasizes the music to express the speci fi c do ubt implied by the text, while in
figure s ' role in expressing the affections, the traditional references to instrumental music simi lar musica l progressions would express general
text expression are conspicuously absent in his definitions of the ambiguity: a fi gure used in voca l music to express a specific exclama-
figures. He only rarely mentions that they can be used to express the tion could be used in instrumentn l music with a more general "exclama-
words, hi s illustrations consistently being drawn from instrumental tory" cffect: the musical devices lIsed to express questions in a lext
rather than vocal music. However, in his introductory comments could be applied in inslrumenw ) music. resulting in a "questioning"
Scheibe maintain s that the origins of the musical-rhetorical figure s are musical expression; the various fi gures used 10 repeat, amplity. or inten-
to be found in vocal music, just as "instrumental music itself is rooted sifY a text could al so be used in instrumental music to achieve similar
in vocal music. Because vocal music concerns itself with a text which effects. nle commonality of the fig ures' usages in vocal and instrumen-
can indicate the specific affection, it can justifiably be said that the root tal music lies in their power 10 express and arouse the affections rather
of the figure s through which the affections are expressed is also to be than in their potenti al to express specific. literal thoughts. Musical-
found in voca l music. Thus one learns to differentiate between the rhetorical fi gures do not assume a specific, progranmlatic character but
fi gures' fonn and content through vocal music. Only then can they be rather reta in thei r affec ti ve ex press iveness in instrumemal music.
applied to instnunental music, which, concerning the expression of the Before addressing the tllusical-rhelorical figures. Scheibe discusses
affections, is nothing other than an imitation of vocal music ." I ~ Scheibe the fi gurated me lodi c embell ishments or \'erhliihm/en Aus=ienmgen.
Instead of dwell ing 011 their app lication by the performer. as had
trad itionally been the case. Sc heihe focu ses on their use by the com-
148. " Ich will , mit Erlaubnil} des Herm Prof. Gottscheds, das in der crilischen poser. Should he fai l to do so. "'the composer will neither demonstrate
Dichtkunst befindliche Capitel, von den Figurm in der Poesie, zum Grunde meiner his cieyemess nor ac hieve his desi red purpose in attracting and keeping
Etki lltung der Figurm in det Musik legm, und daraus di ejmigen Figuren anmerken,
the li stener' s att enti on. NC\'crth eless adhering only 10 the rudimentary
welche det Musik insonderheil eigm sind." Ibid., 685.
149. Ibid. , 684. rules o r composition.... \\"hy is it. that he conce ived and composed so
150. "Aus der Vocalmusik mul} man nUT auf die Inslnunentalmusik schliell,en. Weil insipidly without comi ng close to :Ittain ing thc desired goal? Certainly
wit in jener mil Worten zu thun haben. dadutch abet di e Affe<:len entde<:ken, welche
darinnen befindlich sind: so kann man auch mil Recht sagen, dal} in der Vocalmusik
eigentlich der Silz der Figurm befindlich ist, dutch welche man n.mlich di e Affecten
ausdrOckcl. Und so lernel man foJglich duTCh die Vocalmusik. die BeKhaffenheit der g ~bUhrend anwendcn: weil diese in t\n~ch\lng det Affeclrn nichls andCTS, als eine
Figuren un letscheiden, und einsehen, und sie hernach auch in det InstrurnentaJmusik Nach ah lllung d~r Vocalmusik iSI : ' IbId .. 6115.
152 & heibe Scheibe 153

only because he was too ordinary, too dry, too lean. and therefore dull embel lishments. 1<l It is precisely for this reason that the embellishments
and loathsome."'" Like the musical-rhetorical figure s, the embelli sh- are fimda mentally difl'erent from the musical-rhetorical figure s, which
ments are also used to better express the affections. Through the use o f "alter the musica l passage and therefore al so particularly affect the
appropriate and agreeable embellishments. the composer would be able hannon), and the entire context o f the com pos iti on . " l ~ The embellish-
to intensify his composition, "as though the notes had come alive . Even ments can vary indi\'idual notes or entire phrases. lbis might even
his textless melodies have to captivate and move the listeners. And so include a substant ial a lteration o f the phrase's fonn through its connec-
he must bring all the passions and affections mder his control. continuo tion to a subsequent phrase, or the introduction o f quite Wlexpected or
ally being able to stir the listeners anew."m He then praises vari ous fore ign notes or harmonies, giving the passage an entirely different
composers for their extraordinarily expressive use o f the embe llish- intensity. E\'en these embelli shments are not to be understood as
ments, including Hasse, Telemann, and, in particular. J. S. Bach.'H figures, however, "bec ause at aU times, in spite of all these variations,
Unique to Scheibe is the comparison of the embellishments to the they refer to and now out o f the original melody notes. In contrast, the
rhetorical tropes, which are descriptions or elaborations using metaphor- figu res digress utterly and absolutely from the fundamental notes. "m
ical, symbolic, or allegorical expressions. Just as rhetoric uses words Sc heibe' s concept of the musical-rhetorical figures is substantially
which digress from their natural and simple meaning, "in music we al so different from that of Ahle or even Mattheson. While Ahle also begins
have the trope-like, symbolic, figurative embellishments, which digress wim the rhetorical fig w-e rather than the musical device, he explains the
from the natural and simple order and placement of a compositi on' s figures purely in tenns of their musical text application: repetitions or
notes."I S4 In comparing tropes to embellishments, Scheibe wi shes to variat ions in the text were to be musically expressed. Mattheson also
equate the Wladomed melody with the unadorned thoughts or words o f expl ains the figures in terms of their text-expressive potential. His
a sentence . In a trope the metaphoric word 's meaning is then symboli- di scussion of the emp hasis, exclamatio, and imerrogatio (he does not
cally transferred onto the object. In a musical embellishment the use the last term) are undertaken in the context of a chapter dealing \'lith
ornamental note' s " literal meaning" is understood as represent ing the caesurae and punctuation marks fOWld in the text. In addition, hi s
another note. Just as the trope uses words symbolically, so too is a musical examples for these figures are all taken from vocal music.
musical ornament based on a note or phrase which itself remains only Although an instnunental application can also be understood in Matthe-
implied. However, the Wlderlying notes or words. melodies or thoughts. son's list o f the fig/wae cantus. it is not expressly indicated or empha-
should always remain tacitly yet essentially understood, in spite o f their sized to the extent that Scheibe does. The text-boWld orientatio n of

15 1. " Und der Componis! wird dadurch weder seinen Wilz zeigen. noch auch
seinen Zweck bey den Zuh6rem erhalten. Da er aber gleichwohl den gew6hnlichsten 155. A simple trope would be the metaphor "That person is a fox." The unadorn ed
Regeln der musikalisc hen Zusammensetzung gefolget ist . . . was nlull es dann sey n. thoughl is "person: ' who is described as having the attrib utes of a fox (sly. etc.) rath er
dap er so schl ilfrig gedacht und geschrieben. und auch keinesweges den geho m en than actuall y bei ng a fox. By analogy. a note might be embellished by turns. lrills. run s.
Zweck erreichet hat? Gewill nich!s anders, als dap er zu eigentlich, zu !roc ken. zu or other notes. all of whi ch "desc ribe" th e melody note instead of actuall y "being
mager. und fol glich plan und nied enrllchtig gewesen is!." Ibid .. 644 . themsel ves.' The person. j usl like the original note. is always taci tl y understood as the
152. " Er mull seinen T6nen gleichsam ein wirkli ches Leben enheilen k6nn en . eln belli shed ohjcct.
Seine Melodien mUSSell aueh ohne Wone die Zuhorer bewegellund einnehmell . Und so 156. Denn diese ver1indem auch sehr on di e musi kaJi schen Perioden, und mtissen
mup er also aile Leidensehaften und Gemtithsbewegungen in seiner vti lHgen Ge walt folghch aueh vontehmlich auf die Hannonie, lUld auf den ganzen Zusammenhang eines
haben. und ilnmer eine neue Aufmerksamkc:it erwecken konnen." Ibid., 643. Sti.kkes gehen." Del' crilische MUsikus. 642.
153. Ibid., 646. 157. "Dennoch aber geht sie von den Figuren im eigentliehen Vers!ande noch ab,
\ 54 . " Man hat al so auch in der Musik Iropische. uneigenlliche und verblUh mt e weil sie bey aller lhrer Verll nderung doch aUezeil au! den gewohnIichen Gnmdnoten
Auszierungen, die sich von der nalil r1i ehSlen lind einfli ltigsten Folge un d Stellun g der fli epen. und sich auf d ieselben beziehen m u~ . da hingegen di e Figuren insgemein von
T6ne eines Gesanges untencheiden." Ibid .. 642. den Grun dnOl ell gan2 und gar abweichen." Ibid., 647.
154 Scheibe Scheibe 155

mllsica poetica. which is still clearly determinative in Ahle 's Figure,, of (he figures. Scheibe in~ists that "these are by no means all the figures.
lellre and begins to weaken in the writings of Mattheson , has virtually Rather. their number is so great that they calUlot easily be counted. The
disappeared in Scheibe's Figurenlehre. c1e\ cr composer will also con tinually invent new ones without always
Just as Gottsched had done in his Versllch einer edtisehen Dicht- being aware of them or their names. His inspiration [Feller] will soon
/e,msr, Scheibe ftrst lists the Gennan term foHowed by the Latin equiva- lead him from the mundane to greater heights.,,1S9 In this comment
lent in his definiti ons of the figures: AusTul (exclamatio), Zweifel Scheibe' s Enlightemllcnt concept of music shines through once more.
(dub itatio), VerbeifJen (e llipsis), Versetzung (hyperbolan), Wieder- h is the composer's "fire" rather than a given text which would lead to
holung (repe/it/o), Verstiirkung (paronomasia), Zergliederung (disrribu- the in\'ention of new figures. rite common ml/sica poetica suggestion
lio), Gegensol: (al1tithesisJ, Aujhalten (s uspensio), Frage (interrogatio), that a composer consu lt lhe compositions o f past masters for examples
Wiederkehr repistrophe), and Aufsleigen (gradatio). Further rhetorica l o f the figure s and "pply those in his own compositions would also be
figwes defined by Gottsched but not adopted by Scheibe are : correctio, quite untathomable for Scheibe. Being at the vanguard of the Enlighten-
aposiopesis, praeteritio, epizeuxis, aJlaphora, anadipJosis. epanaJepsis, ment. Scheibe belie\ ed (ha t musical invention is inborn rather than
pleonasm us, synonymia, hypot),posis , descriptio, simile, comparatio, learned. and tlwt melodic composition rests in "the imitation of nature
prosopopoeia, sermocinatio, epiphonema, apostrophe, communicatio, ' which is the true essence of lTlllsic as well as o f rhetoric and poetry.'"I 60
conjessio, epitrophe, periphrasis, and jusjura"dum. While many of In the fUlal paragraph of his chapter discussing the musical-rhetori-
these figure s could not be musically represented, many others had been cal figures. Scheibe brieny mentions the Durchgang (Transitus),
defined or at least mentioned in earlier musical Figurenlehren , includ Bil/dung (Ligawra lind Sycopatio ode,. Syncope), and Fuge. He points
ing aposiopesis, epizeuxis, anaphora. anadipJosis, epanalepsis, pleonas- out that these familiar devices do not need to be explained as "they
mus , synonymia, hyporypos is, prosopopoeia, and apostrophe. As actually belong to the general and elementary rules of composition,
epizeux;s, anaphora. anadiplosis, and epanalepsis were regarded as which I do not i.ntend to explain in this publication. "!61 These venerable
specific types of repetition, it can be assumed that Scheibe tacitly compositional devices. so integral both to the art of Baroque contrapun-
included these in his repetitio. In fact, Scheibe goes on at some length tal composition and the many earlier Figllrenlehren, is now relegated to
to describe the various kinds of repetition which a composer could footno te status. Not only arc they of little help in expressing the afTec-
employ, which suggests that he indeed incorporated Gottsched' s various
repetition figures without explicitly naming them . Gottsched had also
pointed out that the aposiopesis can be considered a form of ellipsis, ~usik anzuwcnden: da mir abcr die Einrichlung diescr Blliner nichl crlaubel. Exempel
explaining both Scheibe 's omission oftbe term, aposiopesis, and hi s In NOlen ar17.ufUhren : so bin ich gen6lhigel. \'erschiedene Figuren \'orilZO mil
explanati on of ellipsis with two possible meanings, one of which was SliIIschweigen 7.U Obergehen. und nut diejenigen zu erktllren, welche sich, ohne
bewndere Exempc1. erlliulem lassru." Ibid., 686.
traditionally associated with aposiopesis . Fwthermore, Scheibe does not . 159. "leh sage aber keinesweges. dall diesC5 aile Figuren sind. Ihte Menge ist
consider hi s li st of figures exhaustive. While asserting that most of \'relmehr so groll. dap sic aueh nichl Icicht bt'slimmct werden kann. Ein scharfsinniger
Gott sched's figure s "are applicable in music in certain situations or COnlJlQnisl wird auch inHner neue erfinden. olme sie eben 50 genan zu kennell. oder ihre
Namen zn bemcrken. Sein Feuer wird ihn gar bald \'on der gemeinen Bahn auf cine
connections, I am obliged tacitly to exclude various figures due to the
hoherc kilen," Ibid .. 697f.
restrictions of thi s publication, and only explain those which can be 160, George Buelow. "Scheibe:' New (j"O"e Dictioll(ll'l'. t6: 600.
defmed without musical examples." 'S! And at the end of his discussion 161, "Diesc Arlen der hanllonischen Figurcn sind aber den Musiherstlindigen
bekamlt genug. da~ ich also nicht ntithig habe, mich mil deren ErkHirung allhier zu
beschafftigen, Aufkr diesen gchlircn sie eigenllich zu den allgemeinen und ersten
Compositionsregeln. die ieh in diescl! Bllittem zu erlllutem nichl gesonnen bin." Der
t58 . "Die meiSlen Figuren. welche dieser berlihmtc Marui (Gott5chedl daselbst critische MIIsicIIs. 699. In fact. Scheibe docs give II brief derUlition of transitus, ligatlfra,
anme rket. sind zwar aile, nach gewlSSetl UmSllinden und Bedingungen, auch in der and sY"C()J1<1/ro (XII''' syncope in a foot nole to this final paragraph.
156 For/cel Forkel 157

tions but could easily lead to a style ofmusic which the musician of the academic prowess. He is credited with stimulating the nineteenth-
mid--eighteenth century fOWld excessively opulent and "unnatural." celltury Bach revival through his biography of the great Leipzig Komor.
Scheibe can be considered the legitimate heir to Mattheson's new much of his material coming from the Bach sons. His vast and largely
music aesthetic, rejecting the theologically detennined. speculative, and sel f-acquired I...nowlcdge orthe musical literature becomes apparent in
dogmatic concepts of music which had reigned throughout seventeenth- his bibliography. Allgemeine Litleratllr der MusiJc (Leipzig, 1792), with
century Lutheran Germany. Hi s concept of musical rhetorical figure s is some three thousand entries covering writings on music from antiquity
rooted in a fundamentally transfonned aesthetic of music, bearing lillie 10 his own day . Through hi s work in G6tlingen Forkel modeled the
resemblance to that of a Bunneister, Bernhard, or Walther. Scheibe has scholarly study of music history as an academic discipline, earning him
been Wljustifiably maligned for his criticisms of J. S. Bach's music. 162 the distincti on as the founder of modem musicology.
Although he recognizes the great art of Bach, even drawing attention to Forkcllived in an age which rejected the fundamental precepts held
it in his writings, his progressive, Enlightenment views on music also by the Baroque /III/sica poelica tradition. The objective Baroque ratio.
led him to be critical of those elements in Bach's music which contra oriented concept o f musica l expression no longer remained relevant in
dieted the growing "good taste" in music. (It might be helpful to an era which believed in subjective, individualized, and empfindsam
remember that Scheibe was much closer in age to C. P. E. Dac h, musical expression. This new music aesthetic had its roots back in the
Sammartini, and Stamitz than he was to J. S. Bach.) Through Scheibe 's seventeenth century: with Descartes's famous "cogilo ergo sum," the
Figurenlehre the concept of the musical rhetorical figures is removed individual rather than church, society, or an objective dogmatic system
from the musica poe/ica tradition and placed in the context of the was to become the genesis of all cognition and perception. Descartes
Enlightenment. Although it was a valiant attempt by Scheibe to salvage thereby establi shed the presuppositions for Locke's empirical philoso.
the Baroque rhetorical concepts for the new music aesthetic, it was phy. which influenced philosophical and sc ientific thought througho ut
ultimately doomed to failure. For the coming age, intent as it was on an eighteenthcentury Europe. While empiricism opened new horizons to
individualistic expression of subjective sentiment in "natural" melody. sc ientific investigation, liberal philosophy also encouraged a new music
could not accommodate a concept which had evolved in and indeed was aesthetic. Both in philosophy generally and in music specifically the
reflective of a fimdamentally contradictory concept of music . value of the individual ac hieved greater significance, undennining the
authority o f the nonnative and generally valid Baroque doctrines and
dogmas. TIllis the end of the concept of ml/sica poetica's musical
JOHANN NIKOLAUS FORKEL rhetorical figure s became inevitable. Musico poetico's objectively
discemable and teacha ble precep/a, which had detennined musical
ohann Nikolaus Forkel (1749~1818) was born near Coburg, where
J he received his first musical training at the organ. He matriculated at
the University ofGotlingen in 1769 to study law, philosophy, philology,
composition in Gemlany throughout the past centuries, were replaced
by a freer and subjecti ve concept of musical expression. With that, "the
art of musical rhetoric is then gradually lost in the generation of Bach 's
and mathematics, a university he was to remain associated with for the Sons, which replaced o utlived oratorical fonnulas by the natural out
remainder of his career. He was appointed university organist in 1770, pouring o f the human heart:' 16l Musica poetica was rooted in the
and in 1779 became the university' s music director. In 1787 the univer expression of objective and generally valid affections instead of subjec-
sity awarded Forkel an honorary doctorate for both his musical and tive and individuali zed fetdings. Its purpose-to edify the listener to

162. See also George Buelow, " In Defence of 1. A. Scheibe against J. S. Bach." 163. Friedrich Blume. H.eIlOl.f.fUlIC:e alld Baroque M llslc (New York: Norton. 1967).
Proceedings o/the Royul Musical AssociUliotl 101 ( 19 74- 75): 85. 105.
158 Forkel Forke{ 159

God' s greater glory, a theologically relevant precept to which Matthe~ comr osers blil in the inlroduct ion to a history of music. The musical-
son still ascribed- was quite unacceptable to late-eighteenth-century rhelOri cal fig ures hin e no\\ mo\ ed from being relevant compositional
positivist philosopby, which denied the existence of the metaphysical tools to becoming music hislory,
and limited itself to human experience. Furthennore, musica poeticQ Interestingly enough. Forkc l considers musical-rhetorical concepts,
stood in an inextricable relationship with the linguistically articul ated including. the li gures. o f significance 10 his cOlltemporary composers. In
discipline of rhetoric at a time when the linguistic and musical arts were f<lc l. he bcl ic\'es that onJ y in hi .:; day has music progressed to the stage
increasingly going their own separate ways. where 11 musica l rhetoric coul d even be real ized : "Even tho ugh a
It was during this new age" that Forkel also worked on the publica- nlusical rhctoric is undeniabl) the preeminent and veritable essence of
tion afrus Allgemeine Geschich/e der Music (Leipzig, 1788- 180 I). the llIusic, it is to this day scarcely mentioned . ... Here Mattheson was also
first Gennan attempt to compile an objective and comprehensive history the fi rst .. , a1l1 ong the Genn an authors to comment on this subject in
of music. He completed only two volumes of the colossal undertaking, the chaptcr oll 1l1t'1ody of his Vollkollllllener Capel/meister. However, in
but it was enough to establish him as the first modern musicologist. his da~ . or r:llhcr \\'l1en Del' I'ollkommene CapeJJmeister was publi shed,
Rather than rigorously subscribing to the assumption of the Enlighten- musical COtlll)()sil iull \ \ <lS nOt yct al the stage where a coberent musical
ment that music always progresses from primitive to more sophisticated rhetoric could be retleCied in the music. Not on ly did it lack elegance
levels, he recognized the possibility of musical retrogression, regarding and taste, butl.'specially that coherence of its parts which would result
"his own time as one of decline in musical values. a descent from the in a genuine sentiment-Ji scoL!rse through the interrelated development
high-point achieved in the music of Bach."L6-4 Furthennore, in rejecling of its musica l thoughts. the uni ty o f its style, and so on."L66 Even in this
the prominent Enlightenment view of music as a "superficial stimulant preamble. tenm such as "elegance and taste" (Feinheit mId Geschmack)
to the senses," he believed that "music was a serious expression of and the concepts of 'the interrel ated development o f its musical ideas"
human feeling. Just as words and their combinations served as the (ElIlwickhmg del' G edankell (l/fS einallder) point to a Zeitgei st which
language of the mind, so notes and musical structures conveyed the was foreign to a f//usim-poetim concept of musical rhetoric. Forkel
language of the heart."L6' In these historical-nostalgic and emoti on- wi shes to be understood as the successor to Mattheson in this field. L67
oriented views, he not only betrayed the gulf between hi s musical However, while MaHhesol1 held to the classical rhetorical structuring
concepts and those of musica poetica, but foreshadowed a Romantic methods, Forkel introduces a signilicantly altered system, consisting of
interpretation of music. The first volume ofthe Allgemeine Geschichte (1 ) musica l periudo logy. (2) musical sty les, (3) musical genres, (4)
appeared in 1788: at the eve of the French Revolution, the year o f e. P.
E. Bach's death, the year that Mozart wrote his Jupiter Symphony, that
Kant published his Kritik der praklischen Vern unit, that the American 166. "[)iese !I1l1 ~icali sch e Rh t tori k. ob sie gleich unl ll ugbar die htlhere und
eigentlichc 'nl eorie der "' tllsik allsmllchl. isl doch his j ezt noch kaum dem Namen naeh
constitution proclaimed individual freedom and equality for all citizens, bekarun. . Mat1 heso n iSl au ch hie rin ... lUlleT den DeUlsc hen der erste gewesen. det
the year that Goethe wrote his Egmont. and David painted his Paris et in seillt'lll \'ollkornmenen C apellmei~ler im Capilel \'on der Melodie, viele hierhet
Helena. Thus it appears somewhat anachronistic that the progressive gd wn ge IlcUlcrkungcn geiicfert hat. AIkin. zu seiner Zeit. oder vielmehr in der Zeit. in
welche r def \'Oll kolll mcJle Capdl meislCT erschien.. war d ie Mus;k noch nieht von der
and liberal thinker, Forkel, should once more discuss the musical-
BesehaBen heLl. dall sieh eine 1.usammc nhllllgeJlde musikalisc he Rhetorik aus ihr hlltle
rhetorical figures. However, Forkel's discussion of musical rhetoric absltahiren lasse n. E.~ r..hlte ihr nidn nur Feinhei t WId Geschm ack, sondem Buch
does not appear in a treatise on composition intended for contemporary \'oniiglich de~i eni ge ZusaJlilllellhang ihrer Theile. der sie th eils dureh die Entwiekelwlg
der Gedall kell aus einander. the ils dllreh di e Einheit des Sly]s U.S. w . erst zu einet
fOml lichcll Empf1ndlUlgs rcde- maclne." Allgemeine Gesch ic/rle, 37.
167. "Es is! indessen doch zu \'eJ'\\1 Uldern. dap man bey nachheriger Verfeinerung
164. Vincent Ducktes, " Forkel." New GrQI'I! D k liQflQry, 6: 707. und Ver\ ollkomnmng der KIU ISI. diese Matthesonischen Winke so ganz WlgenUZl gelas-
165. Ibid . sen hat. ... So vie] mit bekamll iS I. bm ich der erste ... " Ihid . 37r.
160 Fo/"lce/ Forkel 161

musical organ ization. (5) musical perfonnance. and (6) mUSIc of both the composer/musician and the listener stands in contrast to the
criticism. '6s Rhetoric and m/l.~ica poetico's fir st step is the il1vemio . generally objective concepts of Baroque music. The obsolescence of
While Mattheson considered the application of jllvelllio's loci lopici these concepts nullify the fundamental validity of the musical-rhetorical
valuable to the composer. their employment by Forkel and hi s contem- figures. for these ' ....ere based on an analysis and imitation of past
poraries is quite unthinkable. Such a systematization of musical inspira- masters rather than on an individualization of sentiment. Tenns such as
tion would contradict every tenet of late-eighteenth-century musical aesthetics. taste. and individualization are rooted in the Enlightenment.
thOUght. Rather, Forkel replaces traditional inveltlio with guidelines on nol in the Baroque. 11rrough his very choice of vocabulary, Forkel
periodology, style. and genre. The second rhetorical step. disposilio. annOWlces the end o f the Figurenlehre.
now appears as the fourth step in Forkel' s ordering. He emphasizes Forkel also places the discussion and use o f the musical-rhetori cal
"that the expression and portrayal of our own sentiments must be the figures in the distribllfio stage, thereby abandoning the musical deco-
primary purpose of all compositions.,, '69 repeatedly remind ing hi s ratio or eloclilio. He maintains that ''the impressions of one of the
readers that the " individualization of common sentiments" (Individllali. senses can be transferred to another sense, indeed, can even be ab-
sinmg allgemeiner Empjiml!mgell) lies at the heart of a musical compo- stracted from sensual impressions, ideas. and concepts."m It is thi s
sition. I1O He expands the dispositio from six to eight parts by subdiv;d. "transfer of impressions from one sense to another" which "occurs
ing the propos/tio into three sections: primary. secondary. and contrary forem ost through the Figures. They are therefore expressions which
subject or material (Hallptsatz. Nebensatz. Gegensatz). Thus the embody the image of an impression according to its corresponding
rhetorical propositio becomes adapted to the sonata concept. While he sense. There is no sent iment and no conception which the imagination
wishes to establish an analogy between rhetoric and music. hi s "aes- cannot conceive in a visual fonn, because all of our conceptions are
thetic organisation" rests "entirely on the manner and method in which originally nothing but abstractions of concrete, visible objects. ,,17l The
the sentiments and ideas develop out of each other." 171 The qualities of musical-rhe tori cal fig ure is therefore both image and source o f an
aesthetics and "taste" first acquire significance in apprai sing a musical impression or sentiment. On one hand, it reflects those sentiments which
composition during tru s period. The associated subjectivity on the part were impressed on other than aural senses, thereby being their musical
image. On the other hand, it is a musically realized abstraction of an
impression which exists independent of its subsequent verbalization or
168. ( I) Die nUlsifcafiscile Pel'iooalc)Kie-mlisical phrase and pt'Tiod construction.
visual portrayal. thereby being its musical source. The musical figure is
(2) Die nr rlSi/rofischelf Schreibtn1en- appropriate musicat styles according to the desin~d therefore not an imitation of the rhetorical one, but rather exists as an
affections: (3) Die \'erschiedem?/l MlIsifcgaltllllgen- the genres unique to cert ain styles analogous fonn of human expression. Just as the rhetorical figures " lie
(e.g.. chorales in church music) and common genres (e.g .. fugues); (4) lJie Alfol'dmlllg
musifcalischel' Getlmrfctn in Riicfcsichl all! den UmJfJ/1g ,Ie,. SIIicfct. die mall allch ,ile
listhetische Anomllung nennell kann. nebst der uhre \'011 de" Figrlf'en- "the
organisation of the musical thought with consideration given to the scope of th e 172. "Da sich abeT die EindrUcke eines Smiles auf einen andem fibertragen lassen.
composition. which call also be called the aesthetic organisation, includinglhe leaching ja sagar von sinnlichen EindrUcken. ldeen und Vorstellungen abstrahin werden konnen.
of the Figures;" (5) /Jen Vom 'ug odeI' die DeclamatiOtl der 7om/ride-in which Forkel so folgt daraus. dap die Absicht der Tonsprache aufEmpfindung zwar die nllchste. aber
refers 10 the writings of Sulzer. C. P. E. Bach. Quantz. and TosiJAgricola; (6) Die musi- nich! die einzige ist." Ibid . 54.
fcafische Krilifc-the first reference to music criticism in a "musical rhetoric." Ibid., 39ff. 173. "Diese Uebenragung der Eindrllcke von einer Kraft auf die andere geschieht
169. "Daf} Ausdruck und Schildenmg unserer Empfindungt'tl ein Hauptzweck aller vorziigtich dUTch die Figuren. Sic sind daher eigentlich solche Ausdrilcke. welche die
TonstUcke 5e)1\ milssell. wird \'on niemand leich! bezweifelt," Ibid .. 49. bildliche Forni eines Eindruckll nach der eigenen Natur einer jeden Kraft enthahen. und
t7 0. 1bid .. 51,52. von einer auf die andere Ubenragen. Es giebt keine Empfindung und keine Vorstel1ung.
171. "Diese Itsthetische Anordnung der Gedanken griindet sich. wie schOll ges~gt von welcher sich die Einbildungskraft: nicht eine bildJiche Form vorstel1en konnte. wei!
wordt'tl. einzig und al1ein auf die Art und Weise. wie sich Emplindw\gen und Gedanken aIle llllsere Vorstel1ungen ursprUnglich nichts anders sind, als Abstrakte \'on kllrper-
aus einander entwickeln ." Ibid .. 50. lichen. sichtbaren Gegenstltnden.' Ibid,
162 Forkel Forhd 163

at the heart of hlmlan nature, and in normal speech would have been the "I he expressIOn of the sentiments is accomplished through the
first expressions which the yet uncultivated 'natural human' would have employment of the figures for the imagination. These can again be
used," so too is it more than likely that "certain similar figures would divided into two categories: those which realistically imitate an object
have been the first fonns of musical expression, at least at the point of or sound (e.g .. thunder), and those which "depict the iIlller sentiments
the innovation of musical composition. ,,[14 in such a manner. that they appear to become visible to the imagina-
Forkel divides the musical figures into two categories, those for the tion: 117 In a footnote, Forkel states that it is this lalier group which are
intellect and those for the imagination, of which the latter are considered most importanl. belonging not to "musical painting" but rather to
by far the most important. l7S As in earlier eighteenth-century treatises , musical expression in general. A composer should concentrate on
tbejigurae prillcipales orfundamentales are not regarded as expressive expressing the sentiments which are aroused by extemal stimuli instead
musical devices. They are to be used with great care and only in of attempting to depict the external object itself. As an example he cites
connection with other more effective methods of musical expression. As a "Garden-sonata, which is to express that gentle feeling which we
examples, Forkellists various kinds of complex contrapWllal structures. experience in breathing in the beneficent and soothing garden air."m
lbe fugue, however, is not listed as an expressive device or figure but Forkel wams against the use of musical ollomatopoeia, devices fre-
rather as the crowning musical genre. It receives a novel and expressive quently fOWld with "tasteless and indiscrete" eomposers.1 19 The figures
justification: while a single melodic line of an aria expresses the are to imitate the sentiments rather than the objects and sounds found in
sentiments of an individual, Lhe numerous independent melodic lines of nature . For example, in reflecting a mother's sorrow at the loss of a
a fugue express the sentiments of a multitude, and is thereby both a child, "only her inner impassioned sentiment of the loss rather than her
faithful image and a fruit of Nature. For Nature has generated a multi- natural outpouring of grief in whimpering. weeping, and sobbing"
plicity of both individual and collective sentiments, and has provided
music with a multiplicity of devices to express these sentiments, all of
which can be incorporated into the fugue. Just as the individual is only
bIos einzelnen. sondem aueh lIIehrem Menschen wgteich die Acuperung ihrer
one member of a nation, so can the aria be considered as only one voice Ernpfindullgen \"erSlallet. so hal sie auch der Kunst vielartige Mittel ZUlli Ausdruck
of a fugue: a nation incorporates many individuals, and a fugue many dcrselben gegebcn Diese Mittel sind samlllilich in der Fuge cnlhalten; sic iSI daher Wltcr
arias. It is therefore the grandest of all genres, just as the general den iibringen /l.tllsikgaltungen die prachligsle. voilko lllmensle und gcople. so wie unter
consensus of an entire nation is the grandest of all sentiments. 176
den verschiedenen Acupenmgen unserer Empfindung. die allgemeine Uebereinstilll.
IlI\U\g eines gall7.en Vo lkes. in dem Ansdmck eines Gefiihls. das pracht\,ol!este. rtihrend.
sle lind grople Sch[\\lspiel ist. Was will ein einzelner Men sch gegen ein ganzes Yolk?
Eben so wenig als eille einzelne Alie gegen cine Fuge. Die Arie ist von der Fuge nul' ein
174. "Die sogenannten Figuren liegen daher tief in del' mensehlichen Natur. un d Theil. wie der einzeillc Mensch yom Volke. Das Volk enlhiilt viele Menschen. und die
in der eigentlichen Rede sind sie das erste, was der noch unkultivirte Naturmenseh zu Fllge ,"iele Anell," Ibid., 48 .
brau ehen weip. Es iSI mehr als wahrseheinlieh, dap einige derselben aueh in der 177, "Unler die hgnrcn fur die EinbildlUlgskraft kiinnen eigentiich aIle sogcllannte
Tonsprache das erste Mittel des Ausdrueks werden gewesen seyn, sobald wenigstetlS auf lll11sikalische Malcreyen gerechnet werden. die illl Grllnde nichts anders. als horbare
irgend cine An eine gewisse Zusammellstellung der Tone erfunden war," Ibid. Nachahmllngen enh\cder bIos sichtbarer Gegenslamlc. oder solcher sind. mit deren
175. "Mall rllup die Figuren in der Tonspraehe, eben so wie die in der eigentiichen BeweglUl,l,! ein Sch~1l ,crbWlden iSI. Die Tonsprache hat aber anch MiliCI. seibsl innece
Rede. naeh ihrer Absicht und Anwendung vorzUglich in Figuren fUr den Verstand, und Empfindllugen so zu schildem. das sie der Einbildungskraft gJeichsam sichlbar zu
mr die Einbildungskraft eintheilen. Die Figuren flIr die Einbildungskrafi sind die werden ~dl<:inen . " Ibid .. 53.
wichligsten. nnd zur lebhaften Wirkllng eines Tonstileks die betOrderliehsten." Ibid. 178, Auf diese durch 3upere Gegenstiinde in tins crrq,<1e Empfindung gtiindel sich
176. "1st sic niehl, diese mannichfaitige nnd kUllstliche Verwebung, eine getreue z.B. eine sogenarmle Gartensonale. (im musikalisehen Mancherley. S.125) die das sanfte
Abbildnng der Nalur, ist sie nidI! der vollkommenste Ausdruek dee manniehfaltig Gefiihl ~lIsdriickcn soil. welches wir in einel1l Garten durch das Einathrllen der
modificinen Elllpfindungen aller Glieder eines Volks, die erst nach nnd naeh entstehen. wohlthatigcn lind balsmnisehen Luft empfillden:' Ibid .. 55f.
sodann aber in einen Strom sich ergiej}ell? . , . sie ist eine Frueht der Natur. So wie dies e 179, Solche Orroma!opoien finde! man bey Geschmack und Unheilloscn
in dcm Herzen der Menschen vicianige Empfindllngen erschaffen hat, so wie sie nieht Cornponislen sehr hfiufig." Ibid .. 59.
164 Fo ..kel

should be musically represented. no The figures which Forkel defines are

Ellipsis. Wiederhofullg. Parol1omasie. Slispension. Epi.slrop"e. Grada~
lion, and Dubitation. Not only had these musical-rhetorical figures all
been mentioned by Scheibe. but only Sc heibe and Forkel li st parOno_
masia. suspensio, and dllbitatio. In all of his definitions. Forkellcans
unmistakably on Sche ibe's description of the figures. P ART THREE
Forkel's concept of the musical-rhetorical figures rests completel)
on the expression ofhwnan sentiments, a criterium through whic h the
merit and virtue of a fi gure can be detenn ined. Neither the illustraliyc
onomatopoeic hypotyposis fi gures nor the technical compositional
devices are appropriate for Forkel 's purposes. Decisive is the aesthetic D EFINITIONS AND TRANS LA nONS
of the Enlightenment (and emerging Romanticism), focusing on the
natural expression of individual sentiments rather than on the system-
ized Baroque concept of generally valid and objective affecti ons. The
OF THE
concept of the Figllrenlehre, itself such a systematizati on, is not to be
mentioned again in compositi on treatises, nor wi ll it be recommended
by music theorists. With ForkeL the Figurenlehre has indeed departed MUSI CAL-RHETORICAL FIGURES
from the realm of compositional theory to the annals of music history.

t 80. Ibid.
DEFINITIONS AND TRANSLATIONS

ABRUPTIO: a sudden and wtexpected break in a musical composition.

The abruptio is one among a nwnber of musical figures of silence. 1

While it is not commonly encoWltered as a rhetorical figure, the term is
used by Virgil to denote a breaking ofT in the middle of a speech.2
Abruptio is introduced into the musical Figurenlehre by Kircher, who
chooses Ihis tenn instead of the familiar aposiopesis. While aposiopesis
signifies a certain silence in a musical composition, abruptio refers to
the actual and unex.pected breaking offofa musical passage. l As such
it is ,"iT1l.tally identical wilh the tmesis, another figure of silence which
emphasi zes a break in the texture rather than the following silence. Vogt
and Spiess list both abruptio and tmesis. defining the fonner as a break
toward the end of the composition and the latter as short interruptions
wi thin the context of a composition , analogous to Kircher's slenasmus
or suspirmio. 4
In his Tractatus Bernhard lists the abruptio as one of the figure s used
in the SlY/US recilalivus. Here it signifies either the cutting off of a note
through a rest in the context of a passage or the premature ending o f the
melody line on the penultimate hannony of a cadence, omitting the
expected resolution on the final hamlOny. Only this second explanation
reappears in Bernhard's Berichl, a definition which Walther adopts in

I. lnclud!.'d among the musical figures of silence are also aposiopesis, ellipsis,
homoiopl r)lQ 'J. IwmoioieleulQn. Imesis, Sllsp iralio. Rnd especially p al/sa.
2. "Atmullpo." Cassell 's Lalin Diclionary, 5th ed. (New York: Macmillan. 1968).
3. Kircher uses pal/sa to denote the ensuing silence and slenasmUS/s uspiratio to
indicate short breaks within me musical texture instead of the more common
apo.fJopeJ'II.which had ~ in use since Bunneister. Presumably the questionable
music~l application of the rhetorical homoioplolonlh omo;olelellfon, musical figures
associated with aposiOpSis by Nucius and Thuringus. led Kircher to opt for the new
tenn. III.' subsequently assigns homoiop/QIOII a musical definition which is much closer
10 its rhelorical counterpart rather than defining it as a subspecies of apru;opesls. See
H(lmoiopflllon.
4, See tmesis. Similarly, homOloplOlOll can signify a pause in the middle of a
passage. whil!.' homoiotelelllon is understood as a pause foll owing a cadence.
168 abmplio ahmptio 169

hi s Praecepta. In contrast to Kircher's text-oriented application of the 'NeIChes also Slehen sone

abruptio. Bernhard's definition focuses on the correct use of dissonance,

the underlying concern ofms concept of musical-rhetorical figures. In
his Lexicon. Walther again includes the more general application oflhe
abruptio, indicating its use both in relation 10 a text or due to "other
circwnstances" in instrumental music.

Kircher (MlIslirgia L.S p.14S) Bernhard (Beri,!!1 p, J 52)

Repentina abruptio est periodus harmon- The abrrlp/io is an unexpected musical Abruptio heipel Abreipung. lind isl. Abruptio means tearing off, and occurs
ica. qua rem dto peractam exprimimus. passage in whi ch we express a rap idly wann mall in der Quana de,- Clldenz.. wei when one ends on a founh in the cadenee
& ut plurimum locum habet in fine, ut completed th ought. It occurs most fre- the erst dutch die Tertia sohI' reso lvi rel which should have been resolved through
iIlud (Desiderium peccatOfum peribit.) quently at the end of a composition. for werden. endigcl. ehe der Bap die Cadell''. a third, !>tfore the bass ends the cadmce.
example to the text " The longing after schliepet.
sinfulness shall cease:'
Jan o" ka (Clans p.56)
Bernhard ( Traclallls p.8S) Abrupti o es t Periodus harmonica. qua The abruplio is an unexpected musical
Abrupdo ist. wenn fUr er\yartender Cooso The abruptio occurs when, instead of rem cito peractam ex primimu5. & ut passage in which we express a rapidly
nantz. so wr Ergllntzung erfordert wird, sounding the anticipated consonance plurimum locum habet in fi ne. completed thOUght. It occurs most fre-
der Gesang zenipen, oder gar abgerillen which II resolution would require. Ihe quentiy at the end of a composition.
wird. Zerripen in der Mille eines Colltex composition is tom apart or even broken
tus, wetm an stall eines Punete! eine ofT. It can be tom in the middle of the Vogl (r olldm'e p. l)
Pause gesetzet wird. Coo/exlllS when a rest is wtitten instead of Abruptio est. cum periodu5 llI usica to The abnlJ1tio occurs when a musi cal pas-
a n(){e. fine posita aliqua pausa abnrmpitUf. sage i! broktn ofT at the end by the place-
ment of certain pauses.
anslatt:
Walther (Praecepla p. 156)
Abruptio oder ei ne Abreiplmg ist. wenn The abruptio or tearing off occurs whtn
man in der Quart der Caclenz (welche erst one ends on a fourth in the eadence
durch die Ten solie reso h 'i ret werdcn) (which should have been resolved
endiget. ehe die Fund ament-Note die through a third ) before the bass ends the
Cadenz schliep\, cadence.

Gar abgeripen in einer Cadentz. und zwar It can be broken off at the eadence in Walther (LexlcOII)
also, <laP die obere Stimme in der Quarte such fashion that the upper voice ends on Abrop tio (lat.) eine AbreiSSlU1g; ist einr The abrlllJlio or break is a musical figure
endiget. the der Bap die letzte Note der a fourth [above the bass j before the bass nmsicalische Fig\l r. dll gemeiniglieh am which eommonly occurs at the wd of a
CadenlZ ergreift. completes the cadence. Ende eines Periodi die HMrnonie plotz- passage whm the composition is sud
lich (wenn e5 nemlich der r eltt. oder in denly brokw or snapped off. This is ei-
Instrumental-Sachen andere Umstande ther demanded by the text or, in instnt-
also erfordc m ) abgrbroc hen lind abge- ntwtal music. other circumstances, See
sc hnappt wi rd . s. Jano" kae Clavem ad JanovkR , ('!avis ad Thesullrum, p.56. III
ThesallrUlll Illagnae IlI1is Mllsicae. p.56. the sty ilis I'fcitativlIs this figure occurs
1m Stylo Recitativo entstehet di cse Figur. when the melody voice ends on a fourth
wenn di e Sing-Sli rllme gegen den Bass above the Idominant] bass note with out
sich in der Quan endiget. li nd 50lche resolving to the third. allowing the bass
ni chl erst dUTCh die Ten reso)viret. son- to end the eadence alone.
dem den Bass die Cadenz allei ne fenig
machen lapt.
170 occen/us (lccenws 171

Spiess ( Tracla/us p.155) word "heltge,,'" (bow) ill such an effective manner "that it almost seemed
Abruptio. Abreissung. Abbrechung, iSI. Abruptio, tearing or breaking off, oc-
wann cine oder mehrere Slimmen zu CW'$ when one or morc voices suddenly
10 become, isib le. the ears becoming like eyes.,,1 While some authors
Ende riDes Periodi naeh Edorderung des break off the passage toward the end of a do no l ru l ~ Olll the possibilit~ of the composer placing the ornament in
Texts die Hannoniam plOtzlich, und zwar composition wilhoul completing the ca- the score. others. li ke ~ I attheson. clearly regard the application ofthe
ohne Erwarnmg riner Cadenz abbrechen. dence, according to the requirements of
In Stylo redt: ist diest Figur gemeln. the text. This figure is conunon in the
de\'ice as the pcrfonner's prerogative. The ornament "is not to be notat-
stylus recital;vus. ed. hut. like other i'.lanicrcn. is added at the discretion of the pcrfonner,
and is parti cularl y effective in compositions oflamenlalion or humility.,,2

Susenbrotus (F:fll/vme p.1S)

ACCENTUS, SUPERJECnO: a preceding or succeeding upper or Hyperbole est cum dictio vel oratio fidem The hyperbole occurs when the speech or
lower neighboring note, usually added to the written note by the per- e:o<cendcns a ug~ndl mUHlendi\"e gratia oration exceeds the truth for the purposes
fanner. ponitu r Sup~ rl at lo. demt'll tlcns super- of exaggeration or Wlderslalemerrl. It is
iectio. Eminentia et Excessus etiam al50 called Jllper/OtiO, dementiem, Juper-
appel1ata. iectla, eminen/io. and exeesJIll.
1b.is embellishment or jigllra simplex is included by a number of authors
in their lists of figures, although it is nonnally not considered one of the Bemhard (7 ractmllS p.71 )
Superj cuio wclche so nst insgemein The srrpe/jeeria, otherwise generally call-
musical-rhetorical figw-es. L Should the accentus precede the written note, Accenms genennet \\'ird. is!. welm neben ed oecell/lrS. OC(:urs when a note is placed
it can assume up to half of the latter note's value, in which case it is also ei.ner Con- oder DissOnllnll im niichslen a step higher lIe){t to a consonance or dis-
called Vorschlag,le port de vou (Mattheson), or Stimm-Ein/all (Spiess). IntervaUo driiber eine Note gcsetzet wird, sonance. TIlis usually occurs when the
doch meistcmheils wenn die NOlen natHr- notes should naturally fall by a second.
An accentus succeeding the written note is also called superjectio lith eine Secunde fallen solt ten. Super- The JII/Jetjecliu can be applied to all con-
(Bernhard), translated into Gennan as Oherwur/(Walther) or Uher- jectio hat bey allen Consonantzen. inglei- sonances, as well as to the trans itus,
schlag (Spiess). Mattheson defmes the Uberschlag as an accentus in cherr neben dem TMSi!U. S)"TlCOpallolle. syncopatia, quosi-tronsitlll, and quasi_
quasi-Transitu. und Quasi-Syncopatione J)'Copatio, as in the following ;
which an upper neighbor is appended to the first note of a falling fourth stat!, ats:
or fifth before the second, lower note is sounded. Printz. who does not
differentiate between these two ornaments, also mentions the varius or
circumflexus, which occurs when the written note is interrupted by an
inserted accentus . The diverse tenninology differentiates between the Transitus quas i-Transitus
ornament's effect (accentus) and its structure (Superjeclio, UherwurJ.
Uberschlag). Like the other musical embellishments, its association with
rhetoric is rooted in delivery or pronunciario rather than in tbe omalllS ~Iches EllempeLnatiirfich also ItOnde'
of the decoratio. However, this does not lessen its potential to be a texl-
or affection-expressive device.2In discussing the Uberschlag, Mattheson
relates a performance in which the device was used to embellish the

I. Although Janovka mentions the ornament, he does not include it in his list of
figures. For a comprehensive discussion of the accentUJ, see Neumann, Ornamentation.
esp. I03ff. I . C"peflmeis/er. III
2. See also Emphosis. 2. Ibid.
172 aCCI!/l/ZU uccenlus 173

Oiese Figur hat ihre Gilltigkeit herge- lbis figure has been legitinlized through
nommen aus dem Brauch del' Slinger wid its lise by singers and instrumentalists.
Instrumelllislen ......elcht illl SI)'lo I!.flwi who occasionally added an accen' in the
l.uweilen einen Accent genommm. we i sf)'/lu grads. of which the composers
ches hemach die Componislcn gut be- subsequently appro\'ed and likewise imi
fundell und also in ihren Slilztll imilirel tated in their 01\11 compositions.
haber..

Bernhard (Bericht p.148) Der Accent soli rlUr angeb racht werden TIle oceelll is onl)' to be applied in con
Superjectio. insgemein Acctfltus genand. The sll/~rjeelio. generally called accen bey solchen Sylbcn. so im Aussprechen nection with accented syllables, excq>t in
is!, wcnn ilber cine Con sonans oder Dis- /liS. occurs when a nOle is pla.:ed a step lang fallen: doch werden die [etzten Syl. those words where it is appropriate to
sonanz cine Note im nethsten Intervallo above a consonance or dissonance. Thi s ben etlicher Woner. als welche es gar accent the last syllable.
drllber gesetzet wird. Diesel' Accenllls uecell/llS is employed whell a voice de IUgl. leidell. ausgenomm en.
wird gebrauchet. wenn cint St;mme her- scends by step or b)' leap. 1I0wevl'f. it
unl er gehet odcr aueh springet . Doeh iSI should be noted that just as fundamental
loU mercken. dall gleich wie das Funda- cOlmterpoint does oot pem}it a leap OUI of
ment del' Composition !lieh! zulli!}t. aus a di ssonance. neither is it pemlilted to II
tiner Dissonalls einen Sprung lU thUll. embellish or excuse such all offenshe mi nus De us
Do Mel ne See Ie wartet
also man aueh !lieh! einen solchcn Ubeln leap with an aceelllllS.
Sprung mit dem Accentu zieTen oder Walther (Le.licolI )
enlschuldigcn konne. Accento (ital.) Accent (gall. ) Accenms The accen/llS music/IS or musical accent
(lat.) sc. musicus, ein musicalischer A~ refers to a manner of singi ng or pla)'i ng
Printz (Phr),n;s Myrilenac/ls pt.2. p.47) cent, ist diejenige Art ZIl singen oder lU in which one sowlds the neighboring
Accenlus is! I wenn die Stimme gar sanffi The acct'!nlllS oceul'! when the "oice is spielen. da mall. ehe die auf dem Papier higher or lower note before expressing
hinauff oder himmter in die nechste Linie gentl)' pulled in to a neighboring higher or vorhandene NOIe e:<primin wird, die the note written in the score. It is of two
oder Spatium gemgen wird. Er ist entwe lower pitch. It is ei ther ascending or de n1ichste driiber oder drun ter. \'orher tou kinds. The first occurs namely when one
der auffsteigend oder absteigend I oder scending or both together. The first killd chieret. 1st also zweyerlei Gamlllg. dal'Ofl moves from a hi gher to a lower note, for
beydes zu gleich. Der erste wird Inten is called illfell(/ens, the second kind .... die ersle. W<.:'1l!1 man nem lich aus einem e)(ample from the c] to the b r, and is
dens. der andere Reminens. und der drille millelZl. and the third \O/jus or circum hohem clave in den tiefem. z.E. aus dem called accentus desctndens or remillf!llS :
Varius oder Circumflexus genennel. Ein fle:lIIs. Every acccn/ either leads into its c 1 illS h j gehet: Accenllls descendcns. the descending accent. The second occurs
jeder Accent gehet entweder in seine principal note. follows it, or does both oder remittens. der Absteigende Accent: when one moves Ollt of a lower note illto
Principal Clavem, oder weicht ab von simultaneousl)'. The first kind is no Ion und die lweyte. wenn aus einem tiefem a higher one, for example from the d 1 to
dersclben l oder thut beydes zugleich. Der ger explicitly notated. blll is appropri. clave in den htlhem. z.E. aus dem d 1 ins the e 1, and is called accel1lUs ascendellS
erste wird in einem musicalischen StUck ately employed by the musician. The SC\:' e I gegangen wird: Accentu5 ascendens or inlendens: the ascending accent .... It
ninunermehr ausdrUcklich geschrieben I OIld kind is often but not always notated. oder intendens. der Aufsleigende Accent should be noted that all kinds of accents
sondem von dem Musieo nur zu reehter while the third kind is sddom wrillell heisset. .. . Wobe), zu merc ken: dap discussed here (which are otherwise also
Zeit angebrach l l der andere om I nicht down. allerseits Arlen nurgedachter Accente known as accentllS Simplices or simple
aber alleuit l und der dritte selten. (welchesonsten aueh AccellIus simplices. accent5) decrease the value of the follow-
d.i. einfache Accente heissen) der folgen. ing note al times only slightly, should it
den Note an ihrer Gehung manchmahl be a longer note, and at times by half,
nur etwas weniges: als in den grossem should it be a shorter note.
NOlen; man ehmah l aber. Wid zwar in den
kleinem. die lIelffte nbnehml'n.
Walther (Pruecepw p. 1~2)
Superjectio. Insgemein Accentu! gellen SIIpt'ljeciio. 11115 figure. generally called E)(preu.
net. ist eine Auf oder Abschleifung von accelll1lS. is an up or dov>1\ward slide by
einer Consonanz in eine Dissonanz: ode r a second from a consonance to a disso-
\'on einer Dissonanz in eine Consonanz nance or from a dissonance to a conso-
per sec undam. nance.
 accem!l.~
174 u ceenlus 175

AceellfU5 duplex ein doppelter Accent: iSI The acUn/US dup/v: is a double acUnt. Diensle thun mull als ,\o<lutch lll5On tave. thereby very naturally expressing
die jenige An zu singen oder spielen. da It refers to a I1UVUlCl" of singing or playing de rheit et\\i!S spoltisches. sprijdes. fre 50merhing scorn ful. obstinate, haughty,
man von zweyen Gangs- oder Sprongs- Iwo subsequent notes, separated by step chI'S und IU'lChmtilhiges se ht nat il rlieh or arrogant. if necessary. It is undoubt-
weise auf einander folgenden NOlen, die or by leap. in which the sond note is ausgedruckt II~rden I..an: "cnn sulches edly this usage which Heinichen has in
zweyte der gestalt geschwinde zweymahl rapidly sowlded twice in such a way thaI erforder! Ilird, Und auf solchen Ge lIlind whetl he slates that the accent can
anschlAgt, daP der ersten an ihrer Geltung the value of the first note is reduced by brauch hat ohn e Zweifel lIeinichcon be app lied to all intervals.
die Helme abgenonunen. und hingegm half, the second note being played and gesehen . wenn es bey ihm heiflt. es
die zweyte wn so Yin cher angeschlagen heard thai much earlier. In Loulie's Ele- konne der Accent bey allen Ill!erya llen
und gmaret wird. Beym Loulie p.80 sei- ments or ' >rincipe.s de Musique, p.80, the angebrach t \\ erden
ner Elemen ts oder Principe!> de Musique. accent is defined differently, both in its
iSI die EinrichlWl8 des Accenl5 anders, marking as well as its perfomlance, as Eil1c 110ch IU1 t>eriihrle Lehre I'on A fllnher unexplored teaching of the ac-
undo so wohl der marque als der expres- follows: Acce!Hcn. die man hillig: Uhcrschllige e.ents, whi ch could simply be ealled
sion nach, folgcnde: heisscn konllt{'. so wie man ienc Vor Ubersch/(iRe, IlIlIst not be tacitly igtlored.
schlagI' nenn et. mnll ich doch hier lIIil These accents or Obersehfiige occur
Stillschllcigen nich t Yor Uber gehen [as when a sllIall and short additional note is
sen. Es bes[",hen diescJDcn ;\ccente oder appended one step higher to the fi rst of
UberschlJige dan n: wt'tl n cin Fall in die two n()(es separated by a fourth, fifth , or
Quart, Quin t ode r II ",iter henllller ge even more. This additional note is not
Walther (Le.licoll) scht'hen solI. dap alsdenn da ~ crste [l1de notated but. like all Munieren. is added
Superjectio ein Oberwurf oder Accent, The $uperjeclio is an ascending accent, solcher Imen'nl le einen felllcn und kun arbitraril y. It is app ropriately employed
der einer lllngem Note aufsteigend noch which is quickly appended to a note of zcn Anhang oder Zusmz von d CI11 l1:1chsl especially in those passages whi ch are
gantz kurtz anhl!ngt wird. 5. Accento. und longer duration. Uberli egcndelll Kl an gI' bekiimmt. der SO!TQwful or humble in nature. For exanl-
zwar des Hm Loulie Meynung. nicht zu Iludlc stehen darIT. sondem pIe, the passage written as follows :
willkilh rlich isl. lI'it" aliI' alldre Manieren.
Mattheson (CoplImeiJltr p.112[) und absonde rlic h 111 Siitzen. die II:I~
Erstlich den sogenanntetJ Accent, wel- The first [of the Monieren] is th e klagendes oder delll iit higes haben. seh r
cher bey einigen der Vorschlag. und in occelllllS , which some call VQr$chlag and artlg 7.U horen ist, Z.E. dcr aufgeschl'ie.
Frankreich Ie port de voix heisset. da die is known as If! parI de \'oix in France. It bene Satz II arc di{'ser:
Stimme. ehe die folgetJde vorgeschrie- occurs when. before exprening the fol -
bene Note ausgedruckt wird. den n!lchst lowing written note, the \!{lice sounds the
darilber oder darunter liegetJdetl Klang neighboring higher or lower nOle very
getltly, as ifbriefly touching it twi ce.
II
vother gantz sanfft. WId gleichsam zwei-
malll sehr hurtig beriihret.

Es sind also die AccetJte theils auf theUs The accents can be ascending or descend die berlihmtc M:ldame Keiscr hnt diese~ was expressed by the famous Madame
absteigend. einfach und doppelt: bey den ing, simple or double. The simple accentS beugen eins! in <ler hicsigcn Doms.Music Keiser in a recent Hamburg [)Qm M usic
einfachetJ wird von der nlichstfolgetJden diminish the value of the followin g not e so nachdrUck lich 11l~ratlsgebraeht. da~ es perfonnance with such emphasis that it
Note nur dn wenigl'S, bey den doppelten by a small amount, the double accents by fast sichtbar schien . Wid die Augen I'oller almost seemed to become visiblc. the ears
aber die Helffte der Geh ung genommen, half its duralion. so that the accenti ng Ohrcll \\ lIldell: nur durch folgen dcn I..lei- becoming like eyes. This was achieved
so dajJ die aecentirende Note desto IM- n()(e is heard that much longer. and with nen Zllsat~ ulld i.lberschlagC:llden Accent: merel)' through the following small addi-
gcr. WId mi t einer angt:rJehmen VerzOge- an agreeable mardatioo. wherein ils most tional accent:
rung gehliret wird, als worin om die emphatic effect is frequentl y found .
beste Lust besteht.

Der ncueste. und heutiges Tages starck Howevet', the newest and cUlTClltly wide
cingefUhrte Gebrallch dieses Accents spread use ofmis accent is found in vocal
aber ist. dap er $Owol im Spieletl als im and instrumental music, whet'e it is fre
si ngen om springend, \'on der Quart an quently employed in ascending and de Spiess (Trao(l/lls p 155)
bis in die Octav. auf und unterwllrts scending leaps of a founh up to an oc Stim mEinfaJt. ist die )enige An w sin. TIle SlimmEilljall is a manner of singing
176 {lcciacca/Ilrll 177

gen, oder zu spihlel, da man. me: di e auf or playing in whi ch the neighboring high. tenn In the Italian verb acciaccare, meaning to grind or squash
dem Pappier vorhandenc NOla cxp rimin er or lower note is sounded before the
wi rd. die n:ichstc: darUber. oder darumer. wrinen note is expressed, It i5 of two (zermalmen, zerquetschen), which is to refer to the grinding effect of the
"omero louchiret. 1st also zweyerley Gat- kinds, the firsl being namely the progres- dissonance. Although Walther mentions Heinichen' s understanding of
tung. davon die mit. wann man nemlich sion from a higher to a lower note. called the tenn. he himself derives the term from the Italian acciacco, meaning
aus einern hOhcrcn Clave in den tielferen occentllS descemfellS or ,-emilfe/ll', Ihe
gehec. AcccntllS Descmdens oder Remit- fall ing acnt, and the second kind being superfluous." Mattheson on the other hand rejects both of these origins
tens, der absleigende Accent : lind die the progression from a lower to a higher in favor of accia, meaning "thread," by which the notes of the chord are
anden e An iSI, wann aus ei nem tieferen note. called accentll$ llSUll(lellS or /II/ell - "tied" together.ln contrast to the accenll4S defmitions, the various writers
Clave in einen Mherm gegangen wird. dens. the ris ing accent or VQrs('hI"li
so Accenlus Ascendens. oder intendellS, Both of these VOl:fchliige or (leCell/ltf can do not explicitly accord this embellishment great expressive potential.
der 8ufsleigende Accent oder Vorschlag also be applied to leaps (sail/hill') of a
heissc:1. 8 eyde diese Vorschlllg oder third. fourth. fifth, sixth. seventh. :m d Walther (Lexicon)
Accentus werden auch in Sprtingen octave. The composer indicates hi s inlen_ AociaccatUl1l (ital. ) von I cciacco, super- The occ{occoluru (from acciocco, suprr-
(Sahibus) in der Ten. Quart. Quint. Sex!. tiollS for the accent's use by adding a f1uus. uberflUPig, Ubrig, enutehet: wenn jlUU3, superfluous, remaining) occurs
Sept wld actav angebracht. DeTCompo- small stoke or a small note before th e z.E. nebst denen zum recitlen Accord G. when, for example, in addition to playing
nist gib!: dipfalls seine Intention zu erken- note. gehorigell Clavibus, d g h auch m)(:h das the notes belonging to the G chord (d,g.b)
nen in Vo ran selzung eines SlTich1cins. fis, als ein zur Mordant dienlicher Clavi! the F-sharp is also included much like a
oder aueh klein en NtI\leins. mitgegriffen wird; .. , Der see\. Hr. mordant . . . . The blessedly departed
Capellmeister Heinichen deriviret es von Capellmeister Heinichen derives th e lenn
acciaccare. welches zennalmen, zerquet- from acc{uccare, which means to grind,
schell. odeT etwas mil Gewall gegen squash, or forcibly strike together. Conse-
Rex roe - les tis
einander stossen, bedeUleI; daIl demnach quently accioccaturo would mean the
mI-ne De
Acciaccat ura eine gewaluame Zusam- violent colJision of neighboring nOles
menslosswig unterschiedener neben ei n- whi ch actually do not belong together.
ander ]jegenden c1avium, die eigentlieh
nich! l usammen geh6ren. heisset,
Spiess ( TrocfOfll$ p .156)
Superjectio, der Oberschlag. ist eine klei- The SlIpeljecfio or Oher.~chlug is a small Manh eson (Cope/lmt!ister p.120)
ne, jedoch gralieuse Manier: geschiehet yet grltCeful embell ishment. It occurs par- Die Acciacalur isl endlich noch (lbrig, Finally the occiocatur remains, of v.ilich
sonderheitlich bey aufsteigender Secund. ticula rlyat ri sing seconds. where lin th e da"on Gasparin, und aus ihm Heinichen, Gasparini and after him Heinichen cer
all",o die 3 th. 81e. l3 te. Imd ISte Nota following exa mple) the 3 rd. 8th, 13lh . gewi Pli ch mdlr Wesens nlachen, al s das tainly make much more than the thing is
Superj ecta genennet wird. and 18th noles are called 1I(li0 SIIIX!I] t'C/o Ding wircklich werth ist; in dem diese worth; for the Manier is nothing more
Manier weiler niehu, als der M ordanl 1m than a whole-step mordant. It is used no-
gamzen Grad; sonst nirgend, als auf dem where excepl in full-voiced bruso-con-
Clavier im General-BaP bey vollen Grif- tinllo keyboard realizations, freq uently
fen gebrliucblich, und om an vieler Un- responsibte for much hannoni c untidiness
rein igkeit in der Hannon ie des Spielens in the playing.
Ursache ist.

Obbelobler Teuucher Verfasser iSI der The aforemmtioned German aUlhor is of

A CC LACCATURA : an additional. dissonant note added to a chord. Meinung. das Wort Acciacalura komme th e opinion that the word ucciocafurn is
which is released immediately after its execution. her Vom Zennalmen und zerquelsc hen . derived from " grinding" or "squashing."
Behilte Gott filr beissenden, zermal. God save us from biting. grinding embel-
menden Manieren! Walther hergegen lishmenu! In contrast Walther claims thaI
The acciaccatura is considered an ornamental embellishment and schreibt, es enlstebe von Acciacco, wel - it is derived from acciuco, which means
receives correlating defmitions by the various writers. Of interest are the ches UberflUpig oder Ubrig heisse. Es ist superfluous or remaining. However. il is
ein selbs!gemach!es Kunst Wort, und a homemade art word, not to be found in
varying etymologies of the tenn . Heinichen wishes to find the root of the find e! sich in keinem Veneroni. any venerable source.
178 Deciucea/llra anobosl.\' 179

Warum soil man aber dis Ding so weit But why seek the source so far afield? Is A NABAS IS. ASCENSUS: an ascending Illusical pa ssage whic h ex-
herholen? Heip, nicht Accia ein Bind- not acria a string, an d cannot acciaca_
faden , und kan nicht Acciacalura mit tura more justifiably Signify a binding presses ascending or e:<a lted images or affeclions.
bessenn Recine cine Verbindung bedeu- rather than a squashing or an excess? For.
ten. als tine Zerquetscnung oder einen namely through the use of such a mor- The anabasis recei\'es first mention \\'i th Kircher. the first author not
O berflull? da nehmlich mitteisl cines dant, the full- vo iced keyboard realiza_
501chen Mordants die Vollslimmigkeit tions are knit that much more tightl y and only 10 define thi s as a specific figure. but also to consistent ly emphasize
der Clavier-Griffe deslo fester und n!!her closely. or are coupled together so to tbe affection-arousing role of the musical-rhetorical figures . Jano"ka.
verbwlden. oder so zu reden mit einallder speak. VagI. Walther, and Spiess also inc lude the figure in their Figurenlehrell.
verkniipffi wiTd.
Howe\'er. Kircher is not the fir st to link the expression of ascending or
Spiess ( Tractaflls p. 157) elevated thoughts or images to the musical Figlll'elliehre. Certainly
Acciaccatura deri vird H einichen IUS dent Like Gasparin i. Heinichen derives ac- Bunneister' s hJPoryposis would be lUlderstood to include the expression
Gasparini \"011 dem welschm Wort ciaccatura from the lIalian word acciac.
acciaccare. welches heip, zennahlen. core. whi ch means grindi ng, squashing.
of such words and images. Furthennore. Nucius appends \'arious lists
zerquctschen, oder etwas mit Gewalt or forcibl y striking something together. of words to be musically expressed to his d iscuss ion of the musical .
gegeneinander stossen. Watthtf ver- Walther claims it cornell from aeciacco, rhetorical figures. including '-words of motion and place. such as stand.
maynt, es rn6chte herkommm '-00 which means superfluous or remaining.
ing. running. dancing. resti ng, leaping, lifting. lowering, ascending,
Acciacco, welches t1berf1Ussig oder Ubrig Matthcson. however. believes one need-
heipt. Manhcson aber halle! datur man n't go so far afield in this wordslUdy but descending, heaven. hell. mountain. abyss. heights, and the like.'" a list
solie diese Won-Forschung nkhl so weit rather, because accia means string, justi- whieh appears in an expanded version in Herbst's Musica Poetica.
herholen. wndern weil Acei. tin Bind- fiably call the occioccotllra a bindi ng.
faden heipt. koone man Acctacc<llura mit which it in fact is. It occurs for example
Similar lists are frequently encoWltered throughom the Baroque. 2 Al -
so mehrem Recht cine Verbindung nen when, in a full chord on the keyboard , though the Gl10basis does not find a rhetori cal cmmterpart. Kircher
nen. als sit in der Thai ist, und geschiet. both hands depress as many notes as endeavors to link it wi th the rhetorica l figures hy naming it ,,;th a Greek
warm E.g. in einern vollkommmen Griff there are fingm. However, because a filII
auf dem Clavier mi t beyden Hlnden so chord spanni ng the scale requires onl y
tern}. Much more than being simple word painting, the anabasis is used
viel Claves. als Finger seynd, niderge- four notes- the ton ic, third, fifth, and to musi cally rec reate the effect of an ascending image or thought found
drUckt werden; weil nur aber ein reiner octave-then the fifth finger must neces- in the te:<1. It is therefore also useful in arousing "exa lted, high, and
Accord eines Ambitu! nur 4. Chwes sarily insen an additional nole. and de
press a dissonance, be thi s added fifth
eminent" affections (Kircher). For e:<ampJe. in Bach's setting of the text
erfordert. sc. I. 3. 5. WId Octavam; als
mup einer aWl den 5. Fingem nothwendig note a fourth, sixth, or seventh. Above all "Et resllrrexir" (Ma ss in B Minor), the listener is not only aided in the
sich inzwischen eindringen. und sich auf one thing should be remembered, namely visualization of the resurrection of Christ but is moved to joy and exalta-
einen Dissonanten legen; es mag hemach that the improper and dissonant notes
which do not belong to the pure chord, in
lion as a consequence of both the theological implications of the text and
dieser 5. Finger eine Quartam. Sextam,
oder Secundam ausmachen. DiP will man other words these acciaccoture, should the accompanying "musical e:<planation."llie figure is both descript ive
hier allein erinnert haberl. dall man not be allowed to soood too long but and affcCli\e. describing the te:<t and arousi ng the correspond ing affec-
nehmlich die falsche und di ssonierende.
und zum reinen Accord ni cht gehOrige
Claves. oder diese Acciaccaturen nicht so
should be played in a rapid Harpeggio
and soon again released, so as not to
cause too great an ooclarity in the har- be both image and source of the affection.
-
tion. Like so man", o f the musical -rhelorical fi~ ures. the anabasis can

lange hOren lasse. sondem mi t einem _ yo

gelinden Harpeggio niderlegen. und bald
wiederum fahren lasse. damit ja nicht gar
zu grosse Unreinigkeit in der Harmonia
verursachet werde.
1. "Secundo, \'erba motus & IOCQrum. lit sun t Sl;u'e. correre. saltare. quiscere. saliTe,
e)(Jollere, deijdere. ascendere. descendere. Coelum, Abissus, mon tes profundum. altum
& similia &c:' MrlSIC:es pDeficae, Gk
2. See H)I'Of)I'OSis .
180 lIlIlIllip/osis 181

Kircher (Milsurg;a L.S p. 14S) develop a collection of musical figures wlLich simply mirror their rhetori-
Anabasis sh't Ascensio est periodus har- The anabasis or ascensiQ is a musical
monica, quam exaJlalionem. ascensionem passage thrO\lgh which we express ex. cal cow1terparts in tenninology and content. In his search for terminol-
vel res alias & tminenles exprimimus. Ul alted, rising. or elevated and eminent ogy. Bun11eister frequently chooses ICons whose literal meaning rather
ilIud Moralis (Ascendens Christu! in thoughts. exemplified in Morales's than rhetorical contelll would best describe established musical devices.
altum etc.) Ascendens Christ/IS in alilim.
The alladip/osis is one ofDunneister"s "oemo figures. The repetition of
Janovka (Clal';s p.S6) a noema (a homophonic section within a contrapuntal composition) at
Anabasis sive Ascensio est Periodus har- See Kircher for translation. a differem pitch Bunneister names mimes is. The repetition of a mimesis
monica, qua exaltationcm ascensioncm,
\'el alias eminentes res exprimimus ut in is then called anadip/osis. a four- fold repetition of a l1oema. Literally this
lextu COTllingere posset hocce: AJccndens tenn means "redoubling" (alia. again: dip/oos. double) and is thereby a
Christus in altum. precise description of the musical phenomenon: the repetition of a
Vogt (Conclave p. l ) doubled lIoema.
Anabasis, cum coneentus valde in altum Anabosis. A striving to the heights "'ith Whil e Burmeister uses alladiplosis to define a device unique to
tendit. great hamlOny of purpose.
musical composition, AWe. Vogt. and Walther lend the term a musical
Vogt (Collc/l/ve p.lSO) content analogous 10 its rhetorical meaning. Both a musical and a lin-
Anabasis astensus est. ut cum voce & The onobasis is an ascent which we ex guistic sentence or plu'ase could begin with the same material which
lextu ascendimus: ut ascendit in caelum. press through the voice and the te:<t. as
ended the previous one. While Ahle describes the figure only in linguis-
in: He ascended into heaven.
tic terms, it is clear from his Figllrell/ehre that hc expects the composer
Walther (Lexicon) to reflect the text's construction through the musical fabric. This expec-
Anabasis (Jat.) von ci:vapaivw. ascen do. Anabasis. from anoboillQ. uscl!lI(lu.1 as
tation is reinforced by Walther. who includes anadiplosis in his MlfSica-
ich steige in die HC\he: ist ei n w leher cend, is a musical passage through which
musicalischer Satz. wodurch etwas in die so mething ascending inlo the heights is lisches Lexicon while omitting other rhetorical figures which do not
HOhe neigende! exprimiret wird. Z.E. expressed. For example OIl the words: He allow such a musical transfer. nle correlat ion between music and rheto-
Ilber die WOr1e: Er ist auferstanden. Golt is risen; God has ascended; and similar
ric is increasingly emphasized throughout the l3aroque era. resulting in
fahrct auf. u.d.g. texts.
an ever closer correspondence between the musical and the rhetori cal
Spiess (Traclotlls p. ISS) terminology and content of the fi gures. This correlation is explicitly
Anabasis, Asc~sus. Auffahrt. Geschie- Anabasis, ascensus, or ascent occurs
when the voice atso rises as directed by
emphasized by Manheson, who mai ntains that the al1adipJosis. alllong
he!.. wann man mit der Stimm nac:h Besag
des Tex ts auch zugleich aufsteiget. v.g. the text, for example: He ascended illiO other figures ofrepclilion. is rooted and familiar equal l) in music as in
Ascendit in Coelum. heaven. rhetoric and therefore requires no fun her explanation.

Susenbrotlls (Epitome p.53)

Anadiplosis. Reduplicatio. est cum ultima The al/adiplosis or l"edllplicalio occurs
A NADI PLOSIS: ( I) a repetition of a mimesis; (2) a repetition of the
prioris commatis dictio in seqllelltis initio when the last word of a preceding pas'
ending of one phrase at the beginning of the following one. iteratur: vel cum anlecedelllis mernbri sage is repeated at the beginning of the
exitUlIl. consequentis initiulll facimus. following one or when we con~truct a
The al1adip!os is, a term found in both rhetorical and musical Figll/"en subsequent opening out of the preceding
cillsc.
/ehren. is supplied with two musical definitions. Burmeister' s prime
concern is to establish a systematic musical tenninology based on rheto- GOlIsched (RedekUIISI p.280)
ric which would aid in musical analysis and composition rather than to Anadiptosis. Wenn das selbe Wort am AlladIIJ/osi.r. When the same word is
Ende. lind im Anfange des folgenden placed at the end of one sentence and at
182 Q1T(xiip/osis a!1alt'p~'1 183

Salus zu stehen kommt, the beginning of the following one. Walther (I ('ricon)
Die 8uadlplosis. \011 (n;t).w<;. dllplex. nil.' (II!jl(hpl".H~. from dIp/os. duple.l .
Gottsched (Dichtkunst p.323) Reduplic8tio (1~t.) iSI : \\enn das letzte .edrrp/!rIIflU (lat 1. occurs Ilhen the last
Oder man wiederhohlt %uweilen tin Or one can repeal. word which ended Won cines ConUlHl!;S. wirderu m das IloTd of a p as~age appears again as the
Wort, das am Ende cines Satzes gestan- one sentence at the beginning of the fo l. ersle im folgo:nden COllimate abgiebl. first wo rd of the followi ng passage Fo r
den. im Anfange de1 darauf folgenden, lowing one, which is called onadiplosis. Z, E. Singe! lind rUhmc t riihmet und 10- eXlllllple. sing and glorify l glolif)" and
welches Anadiplosis heillt. bet. praIse.

Bumleister ( Hyponrnemolum) Manhesoll ('(lpdlm(!j~' ler p .2~ 3)

Anadipiosis vicina Mimesi est, gmtinans The anodiplosis ;s similar to the mimesif, Die Epanalepsis. Epislrop he. An adipJ o- 'Jhe epllllaleps!s. epiJlropire. Glrodiplosis.
id quod ~nllEt uc:w<; semel C$t introduc- repealing that which was fint in troduced sis. Paronom3sia. Polyplol0n. Anlanac1a- P(II'(l !!omas III. pul) plorm! . ar rlanar/aSIS.
tum. Exemplum. through a mimesis. sis. Ploce etc h3bell sokhe nal i.irliche rIoC('. etc .. a'\..~ulllc such natural posi tions
SleJlen ill der Melodie. daP es fasl schei- in Illllsic that il almost see ms as if th e
nel. als hanen die g ri ech ischen Redner Greek orators bo rrowed these figu res
so\halle Figu ren aus d eT TOil-Kuns t fro m the a.l of musical composition. For
enrlehnet; denn sie sin d la uter repetiTio- lhe~ are purely repell/loofS \"(XllnI . repe-
nes vocum. Wiederholungen def Wortc r. titions ofll"ords. wh ich are ap pli ed 10 mu-
die auf ve rschiedene Weise an gebrachr sic in va ri ous di fferent ways.
werden.

ANALEPSI S: a repetiti on o f a l10ema at the same pitch.

Although the lenn allaiepsis has the ring o f a rhetorical figure. it is in

fact only encountered as a musical figure . As one o f hi s l10ema fi gures.
Burmeister defines anaiepsis as a I/oema repeated at the same pitch, in
Bunneister (Mlts/ca Poe/iea p.60) contrast to his mimesis. which repeats a lIoema at a different pitch . It is
Anadiplosis est tali s hannoniae decus. The alladiplosis is an embellishment of
the harmMia. and is constructed out of a
Bunneister' s intent to analyze and name mll~ ic al devices using rhetorical
quod constat ex duplici Mimesi & est hoc
omamentwn Mimesi propinquum: gemi- double mimesis. This ornament is similar lerminology if possible. or to im'ent tenns if necessary. which were
nat enim id, quod per Mimesin semel est to the mimesis, for it repeats thai which literal descripti ons o f the musical device . As he had used the more
introductum. was first in troduced through a mimesis.
general rhetorical tenns re ferr ing to a repel it ion (m;'lI esis. anaphora.
Able (Sommer-Gespriiche p.17) pali/agia) to describe oliter compositional de\ ices. Bunneister constructs
Setzet er: singel und rUhmet I rilhmet und Ifhe writes: sing and glorify I glority and his 0\\11 lenn fo r Ihe repealed noell/a. Literally. the tenn means "re-take"
lobet; so iSI es cine Anadiplosis. praise. it would be an anadipfosis.
(alla. again ; lambal/o. 10 lake) or simpl) repeal." In choosing thi s lenn,
Vogt (Conclave p. lSO) Burmei ster estab lishes a parallel belween the terms allaleps is and al/a-
Anadiplosis cum initiwn fadmus ex prne- The m!adiplosis occurs when we fonn a diplosis. both being fonns ofa repealed !locmo. And in both cases it is
cedenti s fine. beginning OUI of the pre<:eding ending.
the literal meaning o f the lenn rather Ih an a rhet orical content which
describe s the mu sical device .

Bumleisler ( HYPQI1II!(!lIIlllllm)
A.natepsis est q uae conjunctaro m vocum T he aualepm is a pleasant affecl of uni t_
affect ionem s ua\"em ex merarum con ed \'oices I\h ich C01lS1sts in a uni ronn
184 unaphora anaphQI'Il 185

sonantia rUnl synlaxeos aequ abilitate syntax of pure consonances. It repeat s a alloW the repetition to occur in more than onc but not in all voices. 1
const3llt em. iterat Noemati vicina. ne ighboring n_",a.
Nucius then uses the (enn repetirio to denote a synthesis of the two
sunneister deflnitions: the repetition can occur in anyone voice, bU! at
different pitches. Thuringus again lists allaphora with thc fll'S! Bunneis-
ter definition. In addi tion he includes repelilio with Nucins's expanded
definition. Kircher. Janovka. and Walthe r use the (wo Greek and Latin
tennS interchangeably. While Kircher and Janovka define them as
general fomls of repetition, used in order to lend the composition greater
Burmeister (Music(l Poetica p.59) expressivity. Walther li sts both Kircher's and Bumleister's (ground bass)
Analtpsis est tntCtuli hannonici in aliquot The analepsis is 1111 inillle<iiate repetiti on definitions under the teml S. The remaining authors describe Gllaphora
yocum. syntaxi ex meris concordamiis or a musical passage in certain voices
or repelitio with definitions analogous to the \"wo rhetorical ones. Aide
contexti continua iter.llio. sic Noemalis whose lUlitcd syntax consists or pllre con
repetilio & duplicatio. ae Noemali vici- sonances. It is a repelition or dupli cation and Mattheson using the above definition 2. Yogt and Spiess using
num omamet\lum. or a noemu and thereby is an om~l1leru definition 3 for the tenn anaphora. whi le Scheibe and Forkel use defmi-
related to the l1 oema.
tion 3 for the tenn repelilio. 1The following table illustrates the variety
Walther (Lex icon ) of combinations of tenn and content :
Analepsis. on CtVa).aIlPti\,w. recipio. The ana{epsis, rrom ana{m/lboIlQ. r{le/
ist: welln tine aus lauter Concordanzen pio. OI;:CUfS when a short c!atlse or pas- al/ap/wra repelilio allaphora repelifio
bestehende kune Clausul oder Formul sage consisting or onl), consonances is Suscnbrotus 2 Janovka 3 3
noch einmal unminelbar "ach einander immediately restat ed and reexpressed. Gonsched 2 2. J Vogt 3
geselzt und angebracht wird. Burmeister l. I - Walther 1.3 1.3
Nucius I Manheson 2
Thuringus I I Scheibe J
Kircher J J Spiess 3
A NAPHORA. REPEll1l0: (l) a repeating bass line; ground bass; (2) Ahl' 2 Forkel J
a repetition of the opening phrase or motive in a number of successive
passages; (3) a general repetition.' Scheibe and Forkel mention that the repetilio is be st used when
combined with the parollomasia, a figu re of repetition which alters the
Both the rhetorical and the musical anaphora and repelilio are defined
as specific as well as general fonns ofrepetition. 2 ln most cases authors
choose only one of the two tenns for their Figllre"lehre . At time s the I. This second understanding of the (maphora is indic ated by 1+ in the rollowing
terms arc used interchangeably. while at other times an author assign s table. The repetition of a phrase at the same pitch in one voice other than the bass
each term its own definition. Bunneister initially restricts the anaphora Bunneister calls palilagia,
2. A furth er mention orthe (lnaphora is made b)' Henl)' Peacham (the YOlU'lger):
to the bass line but expands the definition in subsequent treali ses to "Nay, hath not music her figures. the same which rhetoric? What [are] ... her reports.
~ SWeet anaphoras?" ('The Complem Gemleman 1622). Peacham's chapter on mus ic
IS reprinted in Stnmk, SOI/ree Readings. 331 - 37. In English Baroque temlinology. a
~n" is understood as an imitative en tl)' or the subject: "Repone is the Iteratin g or
malllteining or a Point in the like motion. [per Arsin aut Thesin:] the Principal and
Repl ie both Ascending. or bothe Descending" (C h. Butler. Principles oIMl,sik. 72).
I . These three definitions arc referred to by number in the rollowing table. P~am thereby compares the Ihetorical figure which "beginneth diverse members, still
2. See also Mimesis, another tenn used fo r both a specific and a general form of With one and the same word" with a musical composition. in which the imitating voices
repetiti on. begin in like manner.
186 anapharo (lI1(1pl1 ( I)"O 187

passages it repeats, supplying additional material for the sake of empha- und g l"nl wilL daO Ulan seine MC)lllUlg it dne s nnt suffice to say something only
wohl fassen solle: so ist es ihm nkht ge- oue!;'. j,m lath!;'r il should be r!;'peated two
sis, l in Scheibe 's lengthy discussion oftbe repetitio. it becomes apparent
nug. d ap er die Sache cillllla] S;'lb"; son or three times. thereby ensuring the pro-
that he understands the figure as a substantial Conn of musical construc_ dem er saglS Zl' e)", dreymal nael! cinan- p!;'r unMrstanding of the words' empha-
tion, belonging to the musical disposilio as much as to the decoratio. The der. dami! man ja dt'll Nachdruck seiner sis. This repetition occurs in numerous
Wone rech! einsrlu;n moge s geschi ehl \\a}s . . AI times one repeats the same
reperitio is not only used to repeat shon passages, a point he also makes
aber diese Wiederholung auf viekrley word at the begmning of numerous phras.
in hi s discussion of epistrophe. 1 Rather. it is also used to repeat entire An. . . Zuweilen wiede-thohh mall ('s. which is ('ailed mwphora . . .. At
sections of a composition, providing a musical-rhetorical device and dasselbc Wort im Anfange C1licher TIleile times one repellts the beginning of a sen-
desselben Salzes. und das ist die Ana- lence in numerous subsequent scote nees.
explanation for da capo repeats and for musical recapitulations. ''namely
phota . . . . Zuweilen \\i ederhohlt UlM den \\ hl Ch is also called anuphora.
when the fmt part of an aria or another composition is repeated after the Anfang cines Salzes in \'crschi edenen
second pan." folgenden Salzen, lind das heipl auch
Anaphora.
The various anaphora and repetitio definitions reveal the increasing
importance placed on music ' s role to arouse the affections and the Bunneister (H..I1JOlllnem(lWm)
growing conctuTence between musical and rhetorical definitions of the Anaphora est omamenlllm Palilogiae The mwphoro is lln omament related to
vicinum . Quia in solo Basso si mil e iIli the pah/oflw because. like iI, the mla-
figures. While the early-seventeenth-century writers ' definitions o f the
quid exp kt, quod in plu ribus Palilogia. phoro rcpcats something, yet only in the
teons focus on musical techniques of composition, later authors' defini- bass. Should this occ ur in more voices. it
tions repeatedly underscore the figure's rhetorical and emphatic nature. is apa/i/ogia.
, ,

Susen brotus (Epitome p.51)

Rtpetitio est cum continenter ab uno
eodemque verbo plurium membrorum
The repefitio occurs when the beginnings
of numerous subsequent phrases are
rf of
,
oco.

.
" "
- +
r l-
.1

t P I" -
g
-. ,J ~
a
prinicipia SUllllUltUT. Vel est, cum eadem
\'ox in plurium claU5ularum initio itent-
tur.
fonned with one and the same word. Or
it occurs when the same beginning phrase
is repeated in numerous clauses.
"
~
'- 17 -J
L

-t
I
J
=l .=
Peacham (GorJerr of Eloquence pAl )

~
Epanaphora. or Anaphora, is a fonne of
speech which beginneth diverse mem- ,,-
bers. slill with one and the same word. r .~ l 0 9
"
it

~
I " I
'i
--, ~- ~., I:
Gottsched (Redelunst p.279)
Anaphora. Wenn viele Abslitze emer
Rede auf einerley Art anfangen.
Anaphora. When numerous passages of
an oration begin in like manner.
-14 cd
Burmeister (Altuica I'nellca p.65)
Gousched (Dichtkllnst p.322)
AnaphoTll est omamentU1l1. quod sonos The (I!1ap/l/Jm is an Ol11ament which re-
Die VIII . ist die Wiederholung (Repeti- The next figure is the repetition (,.epetl
tia) of certain words and expressions, similes per di\ersas aliquas. non oute om peats th e same notes through various di-
tio) gewisser WClner und Redensanen,
through which the oration is given great ncs. HarmOlliae \"O(:es le petit in lllOrem verse bU1110t all voices of the composi-
wod urch die Rede einen sehr gropen
emphasis. When the affection is intensely Fugae. cum tamen revera nOli si t fulla. I\d tion ill tI le mllllner of aji'KG without be-
Nachdruck bekClmml. Wenn nllmJich das
moved and calls for a concise argument, Fugam enim requiruntur ornnes Voccs. si ing ~ true (uga. For 3 composition earns
GemOth in einer hemgen Bewegung ist,
Fugae nomell harmon ia movcall1 r. the l1ame ofjilga only if all the \'oices are
il1lol\co.

I . See Pa,.onomasia. Nucius (.\I!mces l'nelicae p.G2' )

2. See pist,.ophe. Quid est Repetitio? Cum in C011lrapuJlcto What is the rl'lJelllio? When in fl orid or
188 aHaphoro all"pho,." 189

florida seu fracto . thema in uno aliqua mixed counterpoint a th eme is continu- figurarum simpllcium.
voce perpetuo iteratur. quanrumvis muta- all y repeated in one and the same voi ce
tis locis. Exempla huills Schemati! sum on however many different pitches. Ex Walther (Le.licolf )
in Missa roper La Sol fa re rui. In Miser- amples of this figure can be found in Anaphora. \'011 O:\alfpw. refero. ist tine The llllaphora. from anaphero. ,.eje/o. is
ere mei DeIH. In Fremui l Spiritus. Vana AliMa $llper La Sol f a re mi. in Miser"r, Rhetorisch-musikalische Figur. heissc:t so a rhetorical-musical figure meaning repe-
salus Hominis. Joh. Nudi. etc. mei IN,4S. in Frc:mll it SpirillU. and In del als Repetitio. und ell1stehet I ) wenn lilion. and occun ( I ) when a phrase or
Vona .fo/lls H ominis by Joh. Nucius. ein period us. oder auch nur ein eilllzeles single word is frequemly repeat~d in a
Wort. abson derlichen Nachdrucks halber. com position for the sa ke of greater em-
Thuringus (Opl/SCII/um p.126) in einer Composition 6ffiers .... iederholc! phasis: (2) when the bass notes ate re-
Quid est Anaphora? Est solius Basis What is an lmaphora? It is a continced wird. 2) wenll die Fundament-Noten et- pcated nume rous times (as is Ihe case in
1iquoties iterata repetilio. repetition only in the Bass . lichelllahl (dergleic hen in ( iaconen CIllconos).
geschiehet) ilberdn angebrac ht und trac-
Thuringus (Opl/scll/lim p. 125) tirt werdrn.
Quid est Repelitio? Repetitio, quae Mi What is lhe ..epetilio? The repetitio. al so
mesis dicitur, est, cum in contrapuncto called mimesis, occurs when in florid or Mattheson (Capellmeister p.243)
florido seu fracto, thema in uno aliqua mixed cotmterpoint a theme is continu- Was ist wohl gebrauchlicher. als di~ Ana- What is more common in melodic com-
voce perpetuo ilenlur. quanrwn vis mutl- al ly repealed in OIle and the same voice al phora in d~r ntelodischm Selz-Kunst, wo position than the anaphora. in which an
tis locis. howev~r /llany different pitches. eben di e5~lbe Klang-Folge. di e schOll alread y imrodu ced melodic fragnteflt is
...orgewes~n ist. im Anfange verschieden- repeated at the beginning of various fol-
Kircher (Musllrgia L.8 p.144) er nachstcn Clausell! wiederholt wird, lowing phrases. thu s establishing a tela-
Dieitur ava<j)opil sive repetilio. cum ad What is called anaphorll or repelitio oc- und eine relationem oder Dezie hung tionship?
enersiam exprimendam una periodus cu rs when a passage is freque'lI tly re- mach!.
saepius exprimit ur, adhibetur saepe in peated for emph asis's sake. It is often
passionibus vehemellliori bus animi. used in vehement affections such as fe-
ferociae. oontemptus. uti videre est in i11a rocity or scorn. as exemplified in a com-
cantillena nata: Ad Arma, Ad Anna, elc. position based on Ihe text: To arms ! to
arms!
Scheibe (,ritischer MIISiclls p.689)
M le (Sommer-Gespriiche p. 16) Die Vte Figure ist die WiederhoJ tmg n ,e next figu re is the repetilion (r epe-
SetuI: er: Jauchzet dem Herren ! jauchzet Were he to write: Rejoice in the l ord I (Repetitio) g~w;sser musi ka lischer T6ne, llrio) of certain musical not es. passages.
Ihm aile Welt I jauchzet Wld singel; so ist rejoice in Him all ye lands I rejoice and S5tze WId Gedanken. oder l\IIch gewisser or thoughts. as well as certain words in
es eine Anaphora. sing: it would be an allophmo. W(!rter in Singesachen. wod urch det vocal music, through which thc whole
ganze Zusanunenhang des St Uc ke~. oder cohesion of the piece or the sense of lhe
Janovka (ChJl1.f) auch der Ventand der Rede se1bst einen oration is lenl greater clarity an d empha,
Anaphora ali ter Repetitio, cum ad energi- See Kircher for translation. grolltTl Nachdruck bek6m mt .... Was sis.... Concerning the primary material
am exprimendam una periodus, aut dictio aber den Ha uptsatz selbst betriffi, so ist of th e composi ti on. however. i1 is neces-
saepius exprimilur. adhibetur que saepe es eine Nothwc:ndigkeit, dap dicser nicht sal)' that it not be ignored. but rath er that
in pass ionibus vehementioribus animi. uti zunick gesetzet. sondem bey aller it be differentiated lit every opportunity
ferodae. contempt us. ut si sit textos: ad Gelegenheit durch wohl ausgesonnene through well devised neighboring OT in-
anna ad anna etc. Wiederholtmgell 1'011 andem Neben- oder len'ening passages Bill Ihe repeHtions
Zwischend tzen unterschieden werde. must n Ol all be in the same ke~ . nle
Vogl (Conclave p. I) Die Wiederholungen abet dUrfen nicht changes of the same also heightcn the
Anaphora, cum terminum, vel figuram AnuphOf'U. WhtTl we f~quently repeal ~ aile in einetley Tonart geschehen, Die intensity of the repctition.
quandam ob energiam saepius repetimus. segment or certain figure for the sake of Verallderung dersc:l bcn erhebet auch di e
intensity. Starke der WiederhoJU/lg.... Am besten . .. The figure is best used in connection
aber geschieh t sie. wenn sie mit der with the follow ing figure, namely the
Vogt (COlic/OW! p. 150) folgc:nden Figur, nliml ich mit der Verstar- paronomas/O. In addition. the following
Anaphora repel itio est. Fit non solum The onapho/'o is a repetition. It occurs kung verbU/lden wird. Sonst wlrd auch is also considered among the methods of
vera repetitio part!s periodi, sed eti am not only as a repetition of a part of a pas- dieses zur WiederholU/lg gere-chnet, wenn repetition, namel y when the first part of
190 allaploce nnapl ocf' 191

man den ersten Theil ciner Aric, odeT an aria or another composition is repeated '''.veb. wcaying"). While Quintilian' s definition includes both elements
cines andem Slilckes. nach dem Schlusse after the second part. or when every part of repetition and weaving (the pfoce is a result of a "mixture of figures"),
des zweyten Theiles wiederholet. oder is sung or played [wice.
8uch. wenn man jeden Theil zweymal Susenbrotus and later Gottsched omit tlu s feature while retaining Ihe
singt, oder spielec. repetitive element o f the figure . In adding Ihe prefix ana (again). Bur-
meister modifies the temlto includc the repetition component. TIlUS the
Spiess ( Trac/a/lu p.155)
AnaphOn\ ist, wann tin kurtzer Periodus The anaphcwa occurs when a shon pas. tenn describes a repeated (ana) 110emo which is "woven" (ploce) into
oder Spruch: odeT 8uch ti n einziges sage or saying. or even a single word is a polychoral texture.
Won, absonderlichen Nachdrucks hal- frequently repealed in a musical composi. As he did ,,;th ol1afepsis. another "oema figure. Burmeister fonnu-
ben. in ciner Musicalischen Composition tion for greater emphasis.
Omen wiedcrholet wird.
lales Ihis new term to defme and elucidate a uniquely musical device for
the pW'pOse of analyzing and teaching musica I composition rather than
Forkel (GuC'hichle der Musil p.57) to force rhetorical terminology with ils accompanying definitions into
Die Wiederholung ... erstreckt 5ich nichl The repetition not only involves single
a musical framework. Although rhetorica ltcnninology would frequently
nUf auf einzeLne Ttmc und ganze musika- notes and emire musical passages but
lische SlItzt. soodem auch im Gesange also the text in vocal music wh ich reo be admissible for his purposcs, at times including more or less of the
auf Wone. die dUTch die Wiederholung ceives greater emphasis through the repe. original content of\he rhetoricaltcnn. of prime importance for Burmeis-
einen verstllrktcn Nachdruck erhalten. tition. The figure is one of the most com
ter is the musical definition as it is reflected in the literal meaning of the
Diese FiguT ist in der Musik eine der mon in music, and only assumes its full
gewtlhnlichsten. und bekommt nur dwm potential when it is combined with the term. TIlis approach allows Bunnc ister to either adopt or adapt rhetorical
ihren meisten Werth, wenll sic mit der paronoma:fla. terms without binding him self to predetennined definitions whi le still
Paronomasie (Verstltrkung) verbunden
retaining a simi lar omaflls-orienled concept of the figures.
wird.

Quintilian (/lIslirwiQ IX.iii.41)

Hanc frc:qu entiorc:m repetitionem ploke This frequent ~et ition is called ploce
vocanl. quae fil ell pennixt;! figuris . and consists ofa mixture of figu~s .
ANAPLOCE: a repetition of a "oema, particularly between choirs in
a poJychoral composition. Susenbrotus (Epitome p.55)
Copulatio sive Duplicatio. est cu m idem TIle COl'lIlulin or duplicalio occurs ..... hen
Both the tenn anaploce and the musical device which it describes are verbum. cum emphasi quadRIII repetit ur. a word is repeated wi th a certain added
hoc modo. Sed ta.ndem ad ili um diem t rnphasis. as in Ihe example. " But on Ihal
only encountered in Bunneister's Figllrenlehre. This novel tenn is Memmius era[ Melllmius.: POSleriUS enim day. Menunius was Mc:mmiu5." the repe-
closely related to a familiar rhetorical one, pfoce, which signifies the notat iam anle oognilos mores. Graeci lition referring to his previously familiar
repetition of a word but with an altered sense (e.g., Boys will be boys; vocant ploke. Differt ab Epizeuxis. quod chara cter. The figure is called ploce in
haec principium geminal. ilia finem . Gretk. It dilTers from the epi::eruis.
Let bygones be bygones).' Common to both figures is the element of
which repeat s the beginning word. while
repetition, a feature not reflected in the rhetorical term ploce (literally the place repeats the ending.

Gottsched (Heddl/lISf p .2 76)

Ploce. wenn das wiederholte Wort zwar Plu"t!. when the repealed word remains
1. In the treatise, De Musica (after 1559), Anonymous ofBesan~on uses the term grammatisch dasselbc: b1eibt. aber doch grammatically unchanged and yet chang.
ploce to define the fugue. Like Susenbrotus. he lists coprllario as the Latin transl ation sc:inen Verstand lindert. Z.E. Kinder sind es its sense. For example, Childrcn will
Kinder. be childrcn.
of the G r~k term. Various sixteenthcentury authors used rhetorical terms of imitation
or repetition 10 describe: fugal composition. "Anonymous of BesanlfOn is unique among
the early music theorists who apply rhetorical precept! to music in the large num ber of Burmeister (Musica Poelica p.62)
figum he cites in his al1empt to arrive at a clear and comprehensive delineation of the Anaploce est in HamlOniis ex Octo The C/Iwploce is a repetition [of a IlDemo]
rhetorical concept of fugue." G. Butler. "Fugue and Rhetoric," 53 . praesenim vocibus. & duobus choris in the same or neighboring musical
192 onticipatio antic/patio 193
COI1stantibu5 prope clalls ulam ve l in ipsa clause by al ternati ng choirs. specifically 1
SlibSlImplio poslposil im. In making this change, Bernhard stales that the
diam Clausula Harmoniae unius Chori in in an eight-part, doubl e-choir composi-
altero replicatio, r~i tione ad binas le T- ti on . The twC)- or three-fold n:peated al- slIbslImplio postposil iva. used in either descending or ascending stepwise
lIuue vices inculcala. EKnnplum esl in ternation is often encountered toward th e progressions. only makes use of the lower neighbor (sub-s umere). Only
Orlandi Deus miserealUr nOSlri quo tex- end or the co mposition, as in Orlando's in a descending step wise progression would the anlicipatio and the
t1l5 : Et metuan! tum. expolitur. Deus miJereallir at the text El melllalJ/
eum. J/ibslimp tio correspond . Should the progression rise, the anticipatory
element is no longer present: the added note, still always a step lower,
would need to leap by a third to the following ascending note instead of
anticipating it. In hi s Praecepta, Walther al so lists the anricipario under
ANA STROPHE: see HJ'PALLAGE s lIbsllmprio, definin g it as the added lower neighbor without a reference
10 the foll owing or alllicipated nole. In his Lexicon, however, Walther

ANnClPA TID, PRAESUMPTIO: an additional upper or lower neigh - returns to the literal meaning of the term, and reestablishes the link
boring note after a principal note, prematurely introduc ing a note belong- between the added note with the following one. Scheibe and Spiess also
ing to the subsequent hannony or chord. incl ude allticipario in their Figurenlehren. lending the ornament its
literal meaning of antic ipation. While neither include syncopario in their
The anticipario is only to be found in musical Figllrenlehren, describing Figwenlehre, they employ the anticipatio and its antithesis, retardatio ,
a specifically musical device. However, in the definiti on of anticipalio to ident ify two fonn s of suspension. The fonner anticipates a note
in his Lexicon, Walther also includes the tennpraesllmptio for the figure . belonging to the subsequent harmony while the lancr delays the entry
Thi s familiar rhetori ca l device is employed to ant icipate and dismiss ofa note, allowing it to carryover into the subsequent hannony.2 Scheibe
counter arguments to the main thesis of an oration.' While this rhetorical al so mentions that the device can be used to introduce the resolution of
device can be a most forceful element in the argument, the musica l a suspension in one vo ice while the dissonant suspension is still sound-
device, closely related to the accenills, is considered more as an embel- ing in another vo ice. thereby prematurely "anticipating" the resolution .
lishment to be applied by the performer rather than a musical-rhetorical
QuintiHan (lIISIII!II iu IX .Ii. 16)
figure with affective , text-oriented power. Its inclusion in a musical Mire vera in ca usis valet praesumptio. The pmesllmpfio or prolepsis possesses
Figul'enlehre is justified through its explanation of a certain dissonance. quae np6A1")1iIl ~ di dt uT. cum id quod great force And occurs when we deal with
While there is a technical similarity hcnveen the musical and rhetorical obiici potest occ up amus. possi ble objections.
anticipatio or praesllmptio, both devices being an anticipation of some- Susenbro(Us (Epi/ome p.10)
thing to follow, the musical figure is more "grammatical" while the PllIesumptio. Praeoccup alio est quum id The praesllmp tio or praeoccllpalio oc-
rhetorical figure is a powerful figure of thought. quod obiici. prius quam obiicialur curs when we ant icipate any objections
anli cipamus. before the)' are made.
It is Bernhard, whose concept of the musical figure s rests on the
correct and legi timate use of dissonance, who introduces the alllicipatio Bernhard ( TI"Ul"lUfIIS p.72)
no/ae as a musical figure . Bernhard li sts the antidpatio only in hi s Amicipatio Notae ist. wenn ei ne Stimme The alllicip<ll iO no/ae occ urs ....'hen a
Tracra/us. ln his following treatise he expands the definition of subs lImp-
tio, incorporating the alflicipario along with its musical examplcs under
. 1. Simila rl),. the q ll (leJilio rmloe is defined separAtel)' in his TroctOlIlS. but it is
Incorporated int o th e .w/Jsllmpliu proepositim defmition in the Berichl. See SlIbsllmplio.
fO/ a nto re complete rliscuss ion of these various embellishments. see Neumann,
I. Susenbrotus uses the verb Qrllic:ipore in his definition of proesl/mptio, both terms OnmmenlatiOIl. I011T.
referring to similar concepts : to an tici pate or presume. 2 . See Refllrdmio.
194 anticipotio anti.rtaechan 195

die im nltchsten hOhem oder tiefem Inter- voi ce begins the neighboring upper or trin. un d skh hore n liisset. als es eigent- e mbellished setti ng wo uld indicate.
vallo folgende Note [cheri anfanget. als lower nOle earlier than the natural setting lic h dcr o rdina re Salz sonslen thu!.
eigentlich der nattirliche Salz leiden wol- would allow. To this end durational value

~ -:::'~nHrr i ''4t-UCfQ 1j J 9 13
le. Zu solchem Ende nimmt man etwas is taken from the preceding note an d
von dem Valore der vorhergehenden placed before the following one.
Note hinweg und setzet so1ches vor die
~A nlicipatiO sme Sincop a
folgende .

Walther (Lexicon )
Anticipationc della Nota, Anticipatio The onticipotiol1e della nola or anticipa_
: fJ.~
J t ~ .J J .. II -
Notae, die Vorausnehmung einer Note liD nolae, the anticipation of a note, oc-
ist: wenn sic im nlichsten intervallo dnUl- curs when the upper or lower neighbor_
ter oder driiber cher eintrin, und sich ing note enters earlier than il nonnally
horen lasst, als eigendkh der ordin1lre would in the ordinary sening. This figure,
Salz sonsten thut. Diese Figur ist von also caJ1ed praeceplia and praesumptio, SIllCoplrte AntiCi pation also
dem Accentu duptici nur in so weit differs from the accentus duplex only in
unterschieden, dap solcher Bueh sprin-
gend angebracht wird, welches die
Anticipatio, so sonsten auch Praeceptio
that it is not to be used in leaps, whi ch
the accelltus duplex may.
- t-
t r ' F r I II
und Praesumlio heissel, niehl thun kan. Ubrigens kann diese Figur mit- oder ohne Ful1hemlOre. this figure can be employed
Syncopa geschehCll. with or witho ut th esyncopu.
Scheibe (Compendium 3, 7) The onticipatio occurs when a resolving
Anticipatio ist, wenn ieh wieder die in note is heard against the suspended note
deT andern Abtheilung Wld depen 8ten in another voice, in other words when the
Abschnilt 13 N.3 befindliche Regel : Es dissonance and its resolving consonance ANTIrvfETABOL E: see HYPALUGE
mUpe diejenige Note, 50 die Dissonanz are heard together, thereby anticipating
resolviret, niemals zugleich mil der the resolution or sounding it prematurely.
Di5sonanz in concentu reali slehen, die This is contrary to the abovementioned A NTI STAEClI O:---J: a substituted dissonance for an expected conso-
resolvierende Note zugleich unter der rule found in chapter 8, 13.3, which nance. usually the result of the melody remaining on the same pitch
Ligatur in eineT andem Slimme anschla- states that the resolution of a dissonance
while the bass implies hannomc changes.
gen lape. Also daP ich die Dissonanz und and the dissonance itself are never to
die resolvirende Consonanz zusammen sound simultaneously. Regarding the
hore, und also die Resolulio anlicipire, melody, however, the anticipotio has a The musical and rhetorical antistaechOfl describe a similar procedure,
oder VOT der Zeit anschlage. In Ansehung new use and application . This occurs for
namely an exchange of certain notes or letters which would noonally
der Melodie aber hat die Anticipalio the sake of embellishment when one or
einen neuen Nuzen lU1d Gebrauch. Dieser two notes belonging to a subsequent belong in the phrase or word with unexpected or foreign ones. Susenbro-
nun bestehet darinnen, wenn ich Zierlich- chord are already played with the preced- tus also employs the term antithes is for thj s figure , using this term to
keil halber einen oder zwo Thone zu- ing one, thereby anticipating the follow-
denote not opposing or contrasting ideas or thoughts but rather only the
gleich, welche zum folgenden Accord ing prematurely.
gehoren zum vorhergehenden noch mit diffe ri.ng letters in a word. The musical awislaechOIl has a certain simi-
anschlage, und also von den folgenden in larity to the ellipsis. 1I0wever, whereas ellipsis refers to the omission of
voraus anticipirt. an expected consonance, the antislaecholl points to the substitution of
Spiess ( Tracfatus p.155) a consonance with a di ssonance. In the example provided by Vogt and
Anticipatio, die Zuvorkommung, Vor- The anlicipolio, anticipation or premature Spiess, ., lam SIal illlmobilis" (''Now he stands wunoved"), the "immobil-
ausnehmung, Vorans chlagung eineT No- playing of a note, is a very common fig- ity" of the melody through to the cadence over a moving bass line is an
tae, ist eine sehT ilbliche Figur, lU1d ge- ure and (X:curs when a voice enters earlier
schiel wann eine Stimm im nachstetl with the neighboring higher or lower note eloquent expression of the {ext. From the definitions and examples, it
Intervallo drunter , odeT dJiiber eher ein- and is heard before the actual or lU1- is not qui te clear whether antislaechon refers to any such substitution
196 am;sfaer:llOlI anlilhesi$ 197

or whether it is limited to such phrases in which the melody stays on one

A NTI STROPHE: see HYPALLAG
pitch instead o f accommodating the hamlOnies implied by the bass. In
the example. the figure is certainly used as a hypo/)'posis figure. vividl y
A NTITHESIS. ANTl1l'IETON, CONTRAPOSITUM, a mus;cal
depicting the desired image. Furthennorc , Ihis "lining up" of the notes
expression of opposing affections, hannonies, or thematic materi al.
is reflected in the rhetoricallcrm itse lf. Anlisfaecho/l literally means
lining up in opposing rows (allli, against ; sloichos, row), as, for example.
In both rhetoric and music, an expression of opposing ideas is called
combating soldiers might do. So too the melody " lines up" identical
antithesis (amirlieron) or contraposirum. This may refer to opposing
notes opposite the moving bass line.
affections (Kircher, lanovka, Scheibe), hannonies (Walther's antirhesis,
Spiess), or thematic material (Vog!, Walther 's amitheron, Scheibe,
Susenbrolus (Epitome p.24)
Amithesis (aptiu5 Antistoechon). Est lite- The onlithesi$ or antisloecJT(m signifies Spiess). Only Waltherchooscs to differentiate tenninologically contrast-
rae commUlatio, hoc est cum litera pro li an exchange of letters, th at is when one ing ham10nies and contrasting thematic material . The opposing musical
tera ponilur. Vergil. Am. l . Olli subridens letter is substituted for another, as in Vir- ideas may occur successively or simultaneously : should rn'o contrasting
hominum sator atque deorum, pro iIIi . gil's Aeneid where Olli replaces ill;.
thoughts or words be expressed musically (e.g., " I sleep, but my heart
Vogt (Collc/tll'e p .150) wakes;" "TIley that sow in tears shall reap in joy" ), contrasting hanno-
Antis!lIechon permutatio signi, literae. The ,mlislUer:holl is an interchange of a nies be juxtaposed , or melodic material be inverted, a successive or
notae; ut cwn in cadentia 110ta pen ultima sign. lener. or note. for example when th e
non est tenia nee quinta. sed exotica ut penultimRlc not e in a caden ce is not the linear antithesis is the result. However, should a fugue theme be high-
quarta: thi rd or fifth, but rather a strange interval lighted through a contrasting counter-subject or should one text contain
such as Ihe fourth : two contrasting affections (e.g., " In my anger, l relented"), a simulta-
neous or ve rtical antithesis can occur.
"fhe alllilhesis is associated not only with vocal but also with purely
s tat im - bi - lis, 1m - mo bi lis. instrumemal music. The expression of musical opposites as well as
thematic inversions is an important device in the elaboration of a subject
in a musical composition. Burmeister had introduced the fugal inversion
as hypallage, and lanovka mentions other fonns of fugal inversion in his
Maximus huius figurae usus est in solici- The grealest use of this fi gure is made in di scussion o fthc jigura principa/is,Juga: besides the juga ;nversa sell
niis, ubi modus canendi frequent issime 5010 pieces. ill which the perfonllance conlraria (corresponding to hypal/age), he also names the/uga cancri-
alias acc ipit notas, quam lineae habeant . practice most frequently introduces not es zans (retrograde) and thejilga reciproca (retrograde inversion). Walther
which differ from the written ones.
defines similar fugal devices in his Lexicol/ , The aspect of musical
SpieS5 (Trocfofl/s p.155) opposites receives particular attention in Mattheson's discussi on of the
Antistaechon wird a1s dann genennet. da The am istoechon is called such if the cOI//wario. Just as the conjulatio serves to refute objections to the princi-
die singende Stimm sich dem Bass in singing voice does not accommodate the
gebUhretiden Consonantien nicht atcom- bass with appropriate consonances but.
pal argument in rhetoric, so too can it be used to resolve "opposition"
modin; sondem Texts halber au sser rather than those. chooses di ssonances to the theme in music, particularly in fugal composition. I While these
denenselben in den Dissonantiell skh instead in order to express the tC)(t. For technical and contrapuntal fonns of musical opposition remain of impor-
aufhaltet, v.g. ill Exprimirung des TexIS: example. in expressing th e text " He re-
Immobilis stat. Wo die Sing-Stimm mains unmoved." th e vocal line remains
tance in eighteenth-century composition, the changing music aesthetic
immer in einer leil stehen bleibt. der 00 the same pitch \\i1il e the bass proceeds
Bass abet seine G!l.ng fonmachet. in stepwise fashion.

I. G. BUller. " Fugu e and Rhetoric," 85f.

 anlithesis 199
198
Kircher (.1/115"'"Ilia l.B. p. 14 5)
looked at these "grammatical" devices with increasing suspicion. In Anlilhelon. sh(' COnlrapositum, est The alllithe/011 Of contrapositum is a mu-
discussing the rhetorical aspects of the fugue, Forkel reminds his readers periodus IUlTInoni ca, qu am oppositos sical passage in which we express oppos-
that while contrapWltal inversions may be of interest to the "intellectual" affeclus expri mimus; sicut; iIlud Jacobi ing affections. as Giacomo CarriS5imi
Carris5imi. qu em Heracliti risum & contrasted Heraclitus's Jaughing with
listener, they should be used with great care: musical opposites (Gegen- Democrit us's weeping, OT as Leonus
Democriti planctunl intitulat, & iIIud
siitze ) could be useful in clarifYing or "proving" the principal subject, Leonis Lwni i. I:go dormio, t'"t cor meum Leoni expreSled: "I sleep, but my hean
particularly when combined with a fugue theme. a fonn of simultaneous \'igilat. wakes."
antithesis, or they could appear successively, "especially when the main
Jooo\ka ,GlI ns p.5 5)
subject and the countersubject are so structured that they are easily AntithelOlI. sive C'olltrapositum est Perlo- The {Il1lilhe/OII or conlropesilum is a mu-
remembered.'" At the end of his discussion of the musical-rhetorical dus hamlOnica. qua oppositos Anaphorae sical passage through which (in contrast
affectus exprimil11Us ut in textu: ego dor- to th e 01101'"010) we express opposi ng
figure s, Forkel also notes that "there are certain devices which are most
mio el cor meum dgilat fieri pouel. affections. TIle text "I sleep but my hea rt
useful in attracting the listeners' attention, such as new and unexpected wakes' could be expressed in this man
changes as well as sudden modulations.'02 While the concept of the ner.
musical-rhetorical figures falls into oblivion with the passing of the
Vogl (Col/elMe p.l)
Baroque period, the principle of the antithesis lives on in the very struc- Antithesi s. I1gura musica. seu C<lntu- The amitne.fis or contrast is a musical
ture of the foons and methods of musical expression of the following era. posilio. figure.
The "unexpected changes and sudden modulations" of the SWrm lind
Vogl (COIIc/m" p.150)
Drang as well as the fundamental principles o f the sonata concept, with Antithcton oppositio tam fil in thnnati- The lIlitithe/OIl contrasts either a subject
its positioning oftonic versus dominant keys and primary versus second- bus. conlrathem;lIibus. quam in opposi. against a countersubject. or opposing dis-
lione dissonalltiartlm. Est communis. sonances. It is a common figure.
ary material, all attest to thi s fact.
Walther (I.e.licrm )
Quintilian (I11.uiw/ io IX.iii.BI ) Antithesis. heisscl: wenn aus einer The alllitlies/.r signifies a direct progres-
Contrapositum autem vel. ut quidam The contrapesitum , also called COnlenlia Clall5ula fonnuli. gehling in eine frembde sion from a clollslllojormllli to a foreign
voeant, contentio (in'l"iOEl"OV dicitur) or antithelon. occurs in more than one gegangen witd. one.
non uno fi t modo. Nam ct fit, si singula manner. The contrast may be between
singu lis opponWltW ... et bina binis ... single words, pairs of words, or entire
Anti th eton. ist eill musicalischer Satz. The olitithetQtI is a musical passage in
et sententiae sententiis. sentences. wodureh solehe Sachen. die einander which contrary and opposite things are to
conlrair WId elllgegen sind, exprimin be expressed. for example. " I sleep, but
Gott5ched ( Redekulls/ p.l83) w('rden solie/I . Z.E. jch schlaffe, abeT my heart wakes," and similar lexts.
Antitheton. Wenn man viel wiedrige Antithe/on. When many opposing things mein lIerz wachel. u.d.g.
Dinge neben einander setzet, urn sie are placed next to each other in order to
durch die Gegeneinandemaltung desto emphasize them through contrast. Matthcson (C(Jpellmeisler p. 188)
mmr zu erhcben. Wenn ausdrilckli che Gegenslitze vorkom- When e;.;plicit opposiles occur in the text,
men. so " erhillt 5ich die Sache gantz an the maner is quite different. For opposi.
Gottsch('d (Dichtkullst p.332) ders. lX1111 der Worte Wiederstand enor tion in the text demands a comparable
Zum XVten folgt de":" Gegensatz, (Anti- Next is the antithesis, in which opposing den daselbst auc h ein gleiches in den expression in the music .. . . Opposite!
thesis) wo man widerwlirtige Dinge things are contrasted in order to highlight Kliingen. Gegclls!ltze kOnnen auf can be expressed in various ways in mu-
gegen einander stellt. urn das eine desto the one. verschiedell c WClse im Ges3l1ge lusge sic. be illhrough certain notes which in-
mehr ins Licht zu st'"tzen. druckt werden. cs sey durch gewisse ve rt their progression, through intervals
Klange. die ihrell UMg wnkeh ren: dUTch which oppose each other, through sudden
InteT\alle. die eillander zuwiedcr lauffen; changes of the key or the rhythm. etc.
du rch plOtlliche Verlinderung der Ton
I . Forkel. Allgemeine Geschich/e der Musift:. 51, 54.
Art. des Taets etc.
2. Ibid., 58.
200 cmlithe5is
201
Scheibe: (Critischer MusiellS p.693)
Der GegensalZ (Antithesis). Wenn man The antithesis occurs when a few pas-
ApOCOPE: an omined or shonened final note in one voice ofa compo-
einige Siltze gegmeinander stellet. urn sages are conlrasled with each other ill sition.
den Hauptsatz dadurch deSla dcutlicher order to bring out the main subject th at
zu machen. Diesesgescl1iehl vomehmlich much more clearly. This occurs espe-
The litera! meaning of apocope (to "cut off") is reflected in both the
in Fugen, da man dem Hauplsatze jeder- cially in fugues in which the main subject
zeit noch andre Slitze entgegen setzet, wn is COIltinuaily contrasted with other sub- rhetorical and the musical figure. While the rhetorical figure refers to
jenen deslo besscr auszufUhren und zu jects in order to better execute and am- cutting off a word's fmalletter or syllable, the musical figure is defined
erheben. Insonderheit abeT gchOTt! zu plify it . However, 1\ panicular aspect of
as a shortening of the final note in one voice of a fugue. Burmeister' s
dieser Figur, wenn man galll fremde this figure is the inven tion of completely
Sitze crfmdet, die an 5icit selbst und cin- foreign subjects which. taken individu- concern to identify and name a specific musical device with a rhetorical
uln genommm. im geringstell nicht mit ally on their own, seem to be not in the term without necessarily adopting the associated rhetorical definition
dem Hauptsatze verbunden zu !eyn least relaled to the main SUbject . . . . II is
becomes evident once again. He uses the term to describe a prematurely
scheinen.... Auch in solchen Singe- also primarily this figure which must be
sachen, die zweyerley Affect enthalten. used in expressing vocal music which ending voice which results in an incompleteJuga. Rather than referring
muJl diese Figur zum Ausdrucke dentl- contains two contrasting affections. only to the cutting off ofthe voice, Bunueister's apocope signifies the
ben das meiste beytragen. unfinished composition, prompting him to consider the figure as a
SpieS! (Tractotus p.15 5) figurae harIJ/oniae along with the other fugal figures metalepsis and
Amithesis, Comrapositio, Gegensatz. The antithesis or contrapO-fitiQ occurs hypallage. Thuringus extends the figure 's usage to any composition.
geschiehet, wann einem lbemati das when a subject stands in contrast to a
Walther not only adopts Thuringus's definition but adds a reference to
Contrathema: oder denen erwartenden counlersubject. o r dissonances stand in
CoosonMtien die Dissonantien entgegen contrast 10 expected consonances. It ce- the apocope's textexpressive potential: the note is to be quickly cut off
gesctzl werden. Wiederum SO man aus cun, funhennore. when one leaves a at those words which would seem to demand such an interpretation.
einer Clausula formali gehling hinweg. daulula jOl7lfalis and proceeds direcd y Neither Thuringus nor Walther differentiate between the cutting off of
und in cine fremde gehet. Dererley An to a foreign one. Such antitheses or oppo-
litheses oder Gegensllz ereignen 5ich sites occur at times in the tex t itself. for a single voice and the premature ending of the composition. In fact , in
auch zuweilen in dent Text seiber. v.g. example in " I sleep. but my hean wakes." their definiti ons. they indicated that the entire camus (Tburiogus) or
Ego donnio, et cor meum vigiisl. perioollS harmonicae is cut off, resulting in a figure similar to the ahrup.
tio or tmesis.
Forkel (Geschichft! der Mus /Ie p.5 1)
Die Gegensiltze sind in der Musik das, The musical anti/heses are to music whllt
was in der eigenllichen Rede die Bey- the examples are to actual speech. SusenbrOIUS (Epi/ome p.22)
spiele sind, wodurch wir den Zuhorer through which we compel the listener Apocope, est literae aut syUabae in calce The apocope signifies the dropping of the
nOtliigen, unsem Hauptsalz gleichsam similarly 10 perceive OUt primary theme dictioni s abscisio. last letter or syllable of a word.
eben so gegrilndel zu finden , als das just as well grounded as the cited similar
angefUhrte lihnliche 8eyspiel . Bisweilen example. In this respect they are a fonn Bunnei ster ( Hypomnernalurn)
werden sie mit dem Hauptsatze zugleich of proof. At times they are combined with Apokope est Fngae absolutio non integra. The apocope is an only partially com-
verbunden. wie in Fugen. oder Uberhaupl the primary theme. as in fugues and in pleted fugue.
in der polyphonischen Compositionsart general in polyphonic composition ......1
geschieht; bisweilen werden sie aber other times Ihey are presented succes- Bumleister (Mmica Qlltoschediastike)
such hintereinander angebracht, haupt- sively. especially when the primary and Apocope est Fugae, quae ex omnibus The apocope signifies a cutting off of the
slchlich, wenn Haupt- und Gegensatz so the cOnlrllsting themes are so fashioned. partibus. per onU1CS voces non absolvitur, fugue for whatever reason. Instead of
beschaffen sind, da~ sie lei cht im Gt- that they are easily remembered. sed in voce affe<:tionis iIIius quae in cOlllpleling the fugue in all pans with all
dlchnisse behaiten werden kOnnen. fl.lgam abrepl8 est, propter aliquanl cau- voices. one of its voices is broken off.
sam ampulatio.
202 aposiopesis aposiopesis 203

voices of a composition. As the literal meaning of the tcnn suggests

(from apo. away. from; siopesis. silence). aposiopesis signifies a certain
silence in a composition. Thi s figure is related to the abruptio, a point
,,h ich Spiess also emphasizes. However. while the abruptio denotes the
sudden breaki ng orr of a musical passage. the aposiopes is refers to an
intentional and expressive use of silence in a composition. Furthennore,
the abruptio's break is normally described as sudden and unexpected,
a characteristic n OI necessarily associated with the aposiopesis . In
contrast. the rhetorical aposiopesis is defined as an unexpected break in
the oration or an intentional suppression. thereby assuming a definition
much closer to the musical abruptio or ellipsis. In fact, Gottsched men-
tions that the aposiopesis could be considered as a fonn of ellipsis. The
abruptio on the other hand is not encountered as a rhetorical figure .
Because rhetoric does not use silence as an expressive tool in the same
Bunneister (Mus ica Poetica p.59)
marmer that music does, it did not develop speci fic figures of si lence. In
Apocope est Fuga. quae ex omni partie The apocope is II fugue which is not com- contrast, the signi fica nce of si lence in musical composition encouraged
per OIlU1es voces non absolvitur, sed pleted in all parts with all voices, but an entire group of fig ures which are L1sed to express either silence or a
CUiU5 affectionis. quae in fugam abrepta whose condition is broken off for a cer
est. propter aJiquam causam in una aliqua tain reason. It signifies a cutting off in
break in the composition, including besides abruptio, aposiopesis, and
voce fit amputatio. (ut in Legem pone one voice of the fugue . ellipsis also homoioptolon, tmesis, sllspiratio, and especially tbe pausa,
mihi Domine Exordio Orlandi 5. vocum). which was associated with text-expression since the fifteenth century.
Further d ifferentiation between two kinds of aposiopesis is made by
Thuringus (Opl/sculllm p.121)
Quid est Apocope: Est, cum fmali! notuIa What is an apocope? It occurs when th e some authors wi th the figures homoiopI010II and homoioteJeuton. These
proTSus auffertur, & cum nota minima final note is substantially cui and th e are di scussed under the corresponding lenns.
cantus terminatur. ut non erit finis. composition is ended with a nota min The aposiopesis is frequently encountered in compositions whose
ima, resulting in an incomplete ending.
lexts deal with dealh or eternity.' In such cases it is the aposiopesis
Walther (Lexicon) rather than the abruptio which is usually employed, expressing infinity
Apocope iSI cine musikalische Figur, so The apocope is 8 musical figure which or nothingness. In describing the various uses of the pause, Herbst
etIlStehel: wenn bey der letzten Note occurs when the last note of a nlOsical
cines Periodi harmonicae nicht ausge- passage is nOI completely held out but
includes its expressive use: it can be used at the composition's "end,
hallen, sondem behende abgeschnappt rather is quiCKly snapped off. It is used to when the loss, dO\\-llfall, or destruction of something is to be expressed,
wird, und zwar bey salchen Worten. die express those words which seem to reo for example [in the Magnificat text) 'He has scattered, He has sent them
sotches zu erfordem scheinen . quire such treatment.
empty away ,' or as J. Hassler expresses the text: ' I depart and die,' in
which all the voices are silenced.,,2 In a simi lar vein, Daniel Speer

ApOSIOPESIS: a rest in one or all voices of a composition; a general

pause.
I. See Unger, Bc: ithrl1lgen. 10ff.
2. ". , . als: am End I wann ein verlome Sach I oder eines dings untergang soli
Most authors define aposiopesis as a general pause, affecting all the angcdcutct we rden I nemlich I dispenit. dimisi! inanes. und im J. L. Has!. mit diesen
Wo rt en: !eh scheid lind stirbe I da aUe Stimmen s!i1lschweigen." Musica poe/ira, 100.
204 (JpOIfivpesis aprui~si.f 205
encourages the expressive use oflhe pause: "The loss or destruction of IJltenuptionem . Ex affectu quidem, vel calls it obticent/a. and others call it
something, as well as texiS which imply a certain endlessness. such as irae. inurruplio.
'The way of the Godless will vanish.' ' I have left you [or only a mo Gottsc hed (RedekllllSl p.289)
ment,' 'Heaven and earth shall pass away.' ' Of peace there shall be no Aposiopesis. oder Retieallia. Wenn man ApariopeJiS or reticentio. When one he-
end,' or similar texts should be followed by pauses as the words demand. den Anfang mach!. elwas hera us zu sa- gins to make I statement but stops and
gen : AbeT mitten in dc r Rede inn e hAlt b~aks off in the middle of the sentence.
with all voices being CUi off simultaneously .'" In add ition, the aposiope- und abbrichl.
sis can be employed following rhetorical questi ons, where the ensuing
silence allows the li stener to supply the answer or to contemplate an Gottsched (Dic!l/k,IIISI p,320)
Die V, konnte ZUT vorigen gerechnet wer The next figure. called th e aposiopeSis,
unanswerable question. In such cases the fi gure is closely related to the den. UIld heill t das Hemmen (Aposiope- could be included IU1der the previous fig-
incerrogatio. But again, here, as with abruptio. the aposiopesis is used si5). wenn cine schleunige Ver!iJ1derung ure, the ellipsi5. It occurs when a sudden
to express the silence following the question rather than the question des Entschl llsses. der angefangenen Rede alteration of intent interrupts the fl ow of
Ei nhall thu!. the speech.
itself. An example of such a use of the aposiopesis is provided in the
musical example o f Voges definition. Of interest here is the basso Sunneisler (l~l ponmem olum)
continllo part, which does not rest at the point of the aposiopesis. Ac- Aposiopesis est lotale omnium vocum The ap05lopesis is a complete silence in
silentium qu oc unq ue signo datum. all voices and is indicated through a cer-
cording to Vogt, the figure does not necessarily affect all the parts but
ta in sign.
only the vocalline(s), as detcnnined by the text.
Burmeister (Musica Poelica p.62)
Quintilian (lnslitutio VII1 .i ii .85) Aposiopesis est quae silentium totale om- The oposiopesis is a figure which CRUSes
Absciditur per itrcoou;'lulOI V quae, An omission is effected through the apo nibus vocibus sign o cello posito confert. a complete si lence in all voices through
quoni am est figura, reddetur suo loco. siopesis whi ch. being I figure. will be th e placemen t of a certain sign.
dea lt with later.
Thuringus (Opllscllhml p. 126)
Quintilian (Instill/lio IX.iii.60) Quid est Aposiopesis? Est universale What is an aposiopesis? It is a general
Hanc quidam aposiopesin putMt. frllStra. This is wrongly regarded by some as an silentium in omibus Cantilenae partibus. silence in all parts of the composition. II
Nam ilia quid taceal incert um est aut aposio~si.f . For that which is omitted Et est dupl ex: Ho mioteleuton & is of two kinds: homioteleulon and
certe longiore sennone explicandulll. rem ains uncertain or requires a length y Homiaeoptotoll , homiaeoplOion.
explanation.
Vogt (Cone/ol'e p. I 50)
Susenbrotus (Epitome p.27) Apos iopesis ret icentia. Reticentia fieri The oposiopesis indicates a silence. This
Aposiopesis, est quum ex affectu. aut The aposiopesis occurs when a pan of debet. ubi alias necesse est cantan, ut it si lence ought to occur where it would
alicuius mterventu, aut etiam transi tus ad the oration is cut off for the sake of th e exemplo: otherwise be necessary to sing. as ill Ihe
aliud gratia, orationis pars aJiqua prae- aifeC'tion. other interruption, or even tran following example:
ciditur. Cicero Reticentiam et Praecisio- sition. or for some other ~ason. Cicero
nem \ocat. Celsus Obticcn(iall1, nonnulli calls this rericenlia or praeci5io. Celsus

Ouis e r go , ",j" me? quis trgo ve)( at? et quisll'lC>les-lal?

I . " Wenn eines Dinges Untergang odeI' eine Sache ver loren gehet. oder wann die
Textworte expresse ohne Ende sieh ereigner.. nemlich: ' OC t Gottl osen Weg vergehet':
item: ' Ich habe dich einen kleinen Augenblic k ve rl assen' : also au ch 'Himmel und Erde
vergehen': oder 'Des Friedens kein Ende . Bei solchen odeI' dergleichen Textworten
solJen Pausen folgen , indem es der Text erfordert. dall zugltich mit allen Stimmen auf Walther (Lexicon)
einmal abgeschnitten werde," Spter. Vier/aches mllsikalisches Kleebfall. 283; cited in Aposiopesis heisset in der Music: wenn In music the aposiopesis refm loapmlSa
Unger, Beziehungen, 7 1. eille Pa usa generalis. oder ein dureh- generalis. or a complete silence in all
206 upo/omiu assimilalio 207
g!ingiges Stilschwtigen in allen Stimmen voices and parts of the composition si. bene. & notabiliter durificel cruces, &
lit the descending semitone is similarly in-
und Partien zugleich VOrXommt, welches multaneously. This can occur in two bene emolli a! b, creased from four to five commala
auf zweyerley Art geschehen kan. als I) ways, through the homoeoteleuton and through a flat. Sharps cause an agreeable
Homoeoteleuton 2) Homoeoptoton. the hOmaeQPIOlon . and noticeable brightening. while flats
cause an agreeable softcning.
Spiess (Truclatus p.lSS)
Aposiopesis, verha1ten, verschweigen, The aposiopesis, suppression. conceal_ Walther (I. Elicon)
stillschweigen. isl, wann entwederomit ment, silence. occurs when either all a
Apotolnc. von Tto-ci:1l VU), abscindo, ich The apolome. from apo/emllO. abscindo,
Ielst einer GeneralPausen aile Stimmen voices are silenced through a genera] sclmeidc abo also mUUlten die Grichen ihr I cut off. is what the Greeks called the
zugleich stillhalten: oder aueh wann eine pause, or when a single voice stops and in proportione super 139 parteinte 218 major semitone proportion 139:2 18, be-
einzelne Slimm stillschweiget, und ab- breaks off when it should actually con- bestehendes Semitonium maius. S. Zarl. cause it is a part cut off from the whole
brieht. da sie doch solIe singen. und in tinue to sing and progress into the appro_ Vol.l.l'.2 . c.28. weil es ein abgeschnit- tone. (see Zarlino. voL I. part 2. ch.28.)
gehOrige Cadenz geherl. Hat im letzteren priate cadence. This second understand_ tenes Stlick vorn ganzell Tone is!.
Verstand zimliche Gleichheit mil der ing corresponds to thefigura abruptio.
Figura Abruptio.

ASCENSU S: see ANABASIS

APOTOMlA: an enhannonic rewriting of a semitone,

ASSIrvliLATIO, HOMOIOSIS: a musical representation of the text's
imagery.
lbis rather obscure figure is only included in Vogt's Figurenlehre. Vogt
is also quick to point out that the device is more frequently encountered
The assimilatio or homoiosis is only listed in the Figure1l1ehren of
in music theory than among the figures. In his Lexicon Walther defines
Kircher and Janovka. Their inclusion of this figure as an apparent alter-
the tenn in purely theoretical terms, without any reference to text inter-
native for Bunneister's hypotyposis indicates a changing concept of the
pretation or musical-rhetorical use, The tenn stems from Greek musical
musical-rhetorical figures. 1 As both the Latin and Greek tenn s indicate,
theory and is used to identify the major semi tone. According to Pythago-
the rhetorical assimilatio (homoiosis, similiflldo) is a form of simile or
rean theory, a whole tone is subdivided into nine commala, resulting in
parable. Through thi s figure the thought or significance of one expres-
a differentiation between a minor semitone, consisting of four commata,
sion is conferred onto another subject, thereby establishing a parallel.
and a major semitone or apolome, consisting of five commata. Vogt
This process is applied to the musical context by Kircher. Through the
defines the figure apotomia as the enharmonic rewriting of a minor
musical "simile," the composer expresses the content of the text, whether
semi tone as a major semitone, resulting in enlarging the interval by one
it be an affection or other image, thereby establishing the parallel be-
comma (intervallic proportion of 80:81).1
tween the text and the music, However, this is more than mere musical
Vogt (Conclave p.15 1)
word painting. A simile is another fonn of stating the same thing, not a
Apotomia Major pars semitonii. Spectat The apotomia is the larger part of a semi- reflection of something already said. Likewise, the musical assimilatio
inter theoremata musicae amplius. quam tone. It is encountered more frequently in is a musical expression of that which the words expressed and not simply
inter figuras. lnstruatur hic eanens, ut ad music theory than among the figures. It is
# croculam accipiat qu inque commata, &
a musical "painting" of the text. The music re-presents (referre) the text
fonned when the [ascending] semitone is
non quatuor, similiter descendendo ad ~ increased from four to five commata instead of reflecting the words. The figure becomes not only the image
accipiat commata quinque prae quatuor, through the addition of a sharp, or when of the text but, through its musical qualities, becomes the very source

I. For a more thorough discussion of these numerical proportions. see above,

p.12ff. 1. See Il)put)posis.
208 asynde/OI' O/utsis 209

of the affection whi ch it is ca lled to depict. The introduction o f thi s The only musIc treatise which mentions the asyndeton is AhJe 's
figure by Kircher marks the general movement of the musica lrhclorical Musicalische SommerGesprdche. In that work. AhJe does not provide
figures from reflecting the affections of a text to actually arousing them, or discuss musical examples of the figures but rather demonstrates the
from being an image to being a source oflhe affection. The actiones arc various possibililies of applying rhetorical figure s to music by rearrang-
10 be expressed in actuality or "properly" (proprie: Kircher) rather than ing and modi fy ing the text. He demonstrates the asyndeton by citing the
only "seemingly" (vider; : Bunne ister's Itypolyposis). Not surpri singl). text 10 be sel to music and omitting all of its conjunctions, undo In this
it is also Kircher who fi rst highlights the fi gures' role as affection- conlexl. the asyndeton is not a musical bUl rather a rhetorical fi gure
expressive devices and moves the concept of the musical Figure" lehre which a composer might employ in arranging a text for his composition.
fully into the Baroque world of moving the listener. Walther omits this figure in his Lexicon, presumably because he did not
consider it to be of musical significance. Other terms mentioned by AhJe
SusenbrotU5 (Epit ome p . I04) but likewi se omined in Walther's Lexicon are synonymia andpolysynde-
Similitudo ol'o(wmo; Homoeosis. est The simifill/door nomoeO!ii.~ occurs when
fOIl . In contra st. figures such as epiphora or epizeuxis, also defined as
cum aliquid ex re dispari simile ad rem something is tran sferred from it s conte.~t
quampiam traductur. Vd, est quando res to a different but similar one. Or it occurs purely rhetorical figures by both AWe and Walther. were included in the
cum re ex simililUdine confertur. when one thing is associated with another Lexicon because of the possibility of their musical application.
because of their likeness.

Gottsched (Redekullst p.278)

Kircher (Mlis lirgia L.S. p.145)
OI-lOiWO l~ assimilatio est periodus h3r- '''ehomoiosis a
or os.Timilolio is musical
passage through which the attributes of a
Asyndeton. Ein Mangel der BindewOrter. As)ndeton. A lack of conjunctions.
monica. qua actiones rerum proprie
certai n th ing are actuall y exp ressed. for Ahl e (Somm er-Gespn'Jche p.17)
exprimuntur. ut i dum periodi singularum
example when individual voices in a pas- Und I wlin er das wo rtlein " und" davon And should he omit the little word " and,"
voc um diversa refenmt. uti iIIud:
sage depict di fferent elements as in the l!isset l auch eill AS)Tldeton. an asyndeton results.
(Tympanizant. Cythariz.ant. pulsalll nobis
fulgent stolis coram summa Trinitate) in text "1}'mpan;:am. C"y lharizol1l. p ulsolll
hac cantilena basis Tympan um grave nobi.f fillgenl slQlis C"Qrtlm lllmmil
referet. coeterae voccs omnis generis Trinilale:' 1n such a composition the bass
instrumenta. represents the ..... eighty tympanl/m ..... hile AUXESIS . I NCREMENTIlM : succeSSive repetitions of a musical
the other voices represent aU kinds of passage which ri se by step.
other instruments.

Janovka (Clal'is p.56) In both music and rhetoric the auxesis or incremenlum is understood as
Assi.milatio eSI Periodus harmoni ca. qua The ossimifalio is a m usical passage a growth through repetition, reflecting the literal meaning o fthe ternls
actiones rerum seu verborum proprie through which the attributes of a cenain
(growth, increase. offspring). Quintil ian and Susenbrotus mention the
exprimulllur, ut dum periodi singularum thing or word are actua ll y expressed. for
\"ocum diversa refenmt. prout intextu iIIo: exam ple when individual voices in a pas- possibility o f an incremental intensification even beyond the superlative
tympaniz.ant. cythariz.ant. (ulgenl stolis sage depict different elements as in the (e.g. , being beneT than the best). As his musical ex.ample demonstrates,
coram summa Trinitate. In hac canti one text "tymptmi:alll. C"y lnori:am. ["'gem
Bunneister lU1derstands the figure as a repeated noema (conjunctis solis
Bassus t)1npanUm grave referret. c3eterae stalis coram s ummll Trinita/t." In such a
voces onmis generis instrumenta. composition the hass represents the concordantiis). Unlike other repetitions of the noema (such as analep-
weighty tympunum while the other vo ices sis-a repeated noema at the same pitch, and mimesis-a repeated
represent all killds of oth er instruments.
noema at different higher or lower pitches), the auxesis is characterized
by an incremental rise in pitch o f a repeated noema. Walther is the only
other author to include the auxesis or incrementum as a musical-rhetori-
ASYNDETON: an omi ss ion of the appropriate conjunctions in a text . cal figure. Like Burmeister, he defines it as a continually rising repetition
210 auxesis 211

series. in which each expression is con

of a musical passage but does not restrict it to the noema. tinuously followed by a stronger Olle.
Beginning with Kircher the musical device previously described by
the terms auxesis or incrementum is identified as a climaT or gradatio. Susenbrotus (fop/rom' p. 74)
Incr"'"I~'1llum Au:\esis. est quoties gradi- The iIlC1'f!nrelllllnr or auxl'Sis occurs when
Although earlier rhetorical and musical Figurenlehren (Quintilian and bus aliquot pcrYellltur. non modo ad sum- something is advaJlced by step, not only
Susenbrotus, Bunneister and Nucius) included the climax, it was not nllllll . sed intellill quodammodo supra to its highest degree. but at ti mes in a
Wlderstood as an expression of incremental growth. Rather, the climax summum way e\'en beyond that.
or gradatio was described as an ascending or descending stepwise
Burmeister (I" /,u"",cma/llnr)
progression without requiring growth or increasing intensity, reflecting A1Lxesis eSI hmmolllae, uui eidemque The l/!/.T('sis signifies a growth in the
the literal meaning of the terms. L Kircher's description of climax with texllli insenienlls. incrcmentwlI. composition while using one and the
the auxesis definition (incremental growth) is then perpetuated by all same t~"t .

subsequent authors. A similar development can be observed in the Burmeister (MrlSlca Poe/iea p.6 1)
rhetorical Figurenlehre. In past musical scholarship, this differentiation Au xesis fit. quando HamlOnia sub uno The auxesis occurs when the harmonia
between the alLTesis and climax has been frequently overlooked . At- eudelJJ(lllc I",xtll semel. bis. len'e. & grows and increases wilh a single. two--
UlterillS f"'petiTO. eonjll nclis solis COlleor- fold. Iltrcefold. or further repet ition ol1ly
tempts have been made to blend the various Figurenlehren into one dallliis. crescit. & insurgil. Exemplulll est of combined consollances [noemaJ using
homogeneous doctrine of musicalwrhetorical figures, particularly by in Orlandi. Veni in hortum, ad leXULln: one and the sallie text. An example is
writers such as Brandes and Unger. Subtle and indeed substantia l differ- cum Arommibus me-is. Hoc Omamcmo found in Orlando's Velli ill horfllm at the
omnes fere callIiones. in qui bus textus text "cum Aromatibus meis.' All compo-
ences in the concepts and defmitions of the various authors were ignored repetitur. ita, Ullextus repetitionent, non sitions in which the text is repeated. but
in order to create an artificial teaching of the figures. Not only did this FugatJI. exigat. SUlit rcplctae. nol in Ihe fonn of a fugue, abound with
result in a misconceived musical Figurenlehre. but the dynamic changes this figure.
in the general emphasis of the concept throughout the Baroque era were
-.-
not obsen'ed. Only by tracing the usages and definitions of the various
terms is it possible to present the developments of the musicalwrhetorical

I
Cum a-ro-ma -ti- busme- is.
figures, as disparate as the concepts may at times appear.
~ t=r~
.--. I 1 'id
I ISU j I 3 JlJ JIJji
Quintilian (lnstitlltlo VIII.iv.3f..8)
incremenlum est potcntissimum. cum The incremen/um is a mOSI powerful
~
~

C,m 11 ' '0 - -rna - ti - bus me- ".

magna videnlur ctiam quae infcriora SlVlt . fonn lof amplification] : insignificant -
things are made to appear important. This
Id aut WlO gradu fit aut plwibus et ptrvc-
nit non modo ad summum sed interim is effected through either one or several
." i
""!:=
V
quodanunodo supra summum ... ul apud sleps and can be carried nOI only to the

~ & I IT
r 0L~ ~II liT I Ftt PF J I ,J I
.
Verilium de Lauso: "quot pulchrior alter
non fuil , excepto Laurentis corpore Tur-
highest degree, but at limes even beyond
ii, as in Virgil's description of Lausus:
I
ni." Summum est enim, "quo pulchrior, "for no one was fairer, except Laurenti S 11
alter non fuit." huic deinde aliquid super- Tumus.' The superlalive is expressed
positum .... Crescil oratio minus Rpcrte, with "for no one was fairer." which is
sed llescio an hoc ipso efficacius. cum
citra distinctionem in contcxtu et cursu
then further heightened .... The oration
can be heightened less obviously but per-
I
semper aliquid priore maius insequitur. haps more effectively with an Wlbrokcn
\V ahh",r (I <'.Ticoll )
Auxesis heissct: \\ elUl ein Modulus. oder The m~rcsis occurs when a passage or a
eine Melodie z" cy bis drCYlllahl wieder- melody is repeated twice or three times,
1. See Climax.
212 bombus cae/entia dU";II$c ,da 213
holt win:I. aOO dabey imme!' h6hc:t Slti- while al the same lime. however. always Claw bleibende und wit Tab.lIl No.7 ... This figure is not used in vocal music.
g~. rising higher. au ssehende Figut also. d. i. Schwlirmer but should il appear there. Signifies only
genenne[. ... Oiese Fig ur wird in der a rn'llo.
Vocal-Music nicht georauchl. so sie abet
vorkommt. bedeutet sic: nUT tin trilla.

BOMB US, BOMBI , BOMBILANS: four identical notes In rapid

succeSS10n.

The bambus and its grammatical/musical derivatives are considered Printz (Phl)"Uif ,\/) lile/!Gcus pt.2. p.65)
ornaments or Manieren rather than musical-rhetorical figures. A series Figura Bombilans is! I .....enn lauter Ajigllro bombifons occurs ..... hen numer_
schwemlende Figuren z.usammen geselZt ous bombi are linked together.
of bombi is referred to as bombi/ons. Walther maintains that the tenn
werd{'!l. Ex. gr.
bomblls originally meant a movement of the hands resembling the sound
of swanning bees, thereby explaining the Gennan tcnn for the ornament:
Schwiirmer. Although the "swarming" notes might prove useful in
depicting the text , Walther restricts the figure to instrumental music .
Should this occur in vocal music, Walther mentions that it is called ,rillo.
The tenus trillo and tremolo were frequently interchanged. Printz defines
tremolo as rapidly alternating notes and trillo as a "trembling" embellish-
ment on one pitch.I It is this understanding oftrillo which Walther refers Walther (u xicolI )
to when he applies the bomblls to vocal music . Figura bombilans is!. .....enn lauter AjiguI"'{J bombifons occurs when numer-
schwrumende Figuren zusammen gesetzt ous bombi aTe linked together. See bom-
..... erden. s. Bombll$. b",.
Printz (Phrynis Mytifenoeus pt.2, p.50)
Die einfachen bleibenden Figuren seyn I The simple stationary figures aTe those
so in vier gesch ..... inden in einer Clave ..... hich consist of four npid notes on one
bleibenden Noten bestehen: Sie werden pitch. TIley are cailed bambi or Schwer-
CADENTlA DURIUSCULA: a dissonance In the pre-penultimate
Bombi oller Schwemler gennenet. mer.
harmony of a cadence.

This figure is enc:ounlered only in Bemhard's Tractatus. rn keeping with

his concern to legitimize the use of various dissonances inadmissible in
Walther (Lexicon) the SlY/liS gravis. Bernhard explains the dissonances as part of the caden-
Bomba, Bombus also hieP ehemahls A bombo or bomblls formerly signified
tial material. an explanation which can be traced back to the very begin-
diejenige kiinstliche 8ewegung der IUn- an anfo! movement of the hands which
de. wodllrch ein hannonisches. und den resulted in a beelike harmonic humming. nings of polyphonic music. In Bernhard's first example, a subdominant
Dienen lihnliches 8ausen gemacht wurde. . . . Nowadays a figure consisting of four seventh is heard over the bar line. In his second example, a major sev
... Anjetzo ..... ird die aus vier geschwin- rapid not es on one pitch (as in fig .3,
enth is created on the fourth beat of the first bar. These durillscil/IIS or
den Notfln bestehende. und in einem no.7). that is a SchwtJrmer, is thus called.
"hard" harmoni es give the figure its name . The figure is no longer
mentioned in his laler Bericht, where Bernhard abandons the classifica-
tion of the figure s according to style. Indeed, the second example can be
I . In his definition of tremolo, Walther also mentions that the device is at times
explained equally well through the "ansitus irregularis.
referred to as "mo. See 1'remolo.
 calabasis calaba.ris 215
214

Bernhard ( Troelalus p .82) Ki rcher (ftfw,urgia L8, p.14S)

Cadentiae Duriusculae sind, weichI' Cadell/iae dul'izjsculae are cadences in Cata basis sive descensus periodus har- The cUl nbasis or desce//SI/S is a musical
etwas seltsame Dissonantzen V O T denen whi ch some rather strange dissonances monica est. qu a oppositos priori affectus passage through which we express affec-
beyden Schlup-Noten annehmen. Solehe precede the fmal two nOles. Such ca. pron un ciamlls servitutis. humilitatis, tions opposite 10 those of the anabasis ,
werden fast nur in Solidniis lUld meisten- dences occur almost exclusively in vocal depre.,sionis affectibus. alque infimis such as servitude and humility, as well as
theils in Arieo und Tripeln angetroffen. solos and are most often found in ari as reb us ex primendes, lit ilIud Massaini : lowl y and base affe{:tions. as in: " I am,
Da abeT d nige in Inehrstimmigen and in triple meter sections. Should they Ego aUle lll hmniliatus stun nimis, & iIlud however. greatly hwnbled" (Massa in us),
[Sachenj gefunden wUrden, so werden occur in polyphonic works, however, the Massellt ii: descendenmt in infemulll or in "The living have descended into
die Ubrigen Slimmell demlapen gesetzt. other voices must be set in such a manner vivem es. hell" (Massenti us).
doll solchc keine Miphelligkeit spUhren that they do not allow any sense of dis.
lassen. agreement. Jan ovka (Om'ls p.56)
Catabas is sive Descensus est Periodus The catabasis or descensus is 9 musical

- ~
harmoni ca, qua oppositos Anabasi affec-
tus pronunciamus, uti : servilUlis, humi
passage through which we express affec-
tions opposite 10 those oflhe anabasis,

~ . limtis, dep ress ionis, infimarum denique

verum. UI in textu: ego autern humiliatus
sum mml s.
such as servitude. humility, lowl iness,
baseness. and lastly truthfulness. as in the
text: " I am. however, greatly humbled,"
~ ~
, Vogt (t o/lclm'e p.150)
Catabasis descensus cum vox desc endit, The calabasis or descensus occurs when
ut cum tex tu descendit ad infernos. Ihe voice descends, as in the tex!: " He
descended inlo hell."
CA TABASIS, DESCENSUS: a descending musical passage which
Walther (Lexicoll)
expresses descending, lowly, or negative images or affections. Catabasis, vonl(ct"t"ctpctlvW, descendo, ist The calabasis. from ka/abaino, descen-
ein hamlOn ischer Periodus, wodurch da, is a musical passage through which
etwas niedriges, gering und verltcht lich- lowly, insignificant, and disdainful things
The catabasis is used to depict musically either a descending or a lowly
es vorgestellt wird. z.E, Er ist hinunler are rep resen ted. for example: " He has de-
image supplied by the text, thereby creating the implied affection. The gefahren. Ich bin sehr gedemUthiget. scended," " I am greatly humbled," and
figure is first mentioned specifically by Kircher. However, as with its u.d.g. Daher heisset auch ei n Ton-Weise, similar texts. For that reason a phrase or
oder auch dUTch Semitonia ordenllich, a theme which descends in semitones by
contrasting counterpart, the anabasis, the vivid musical expression of
und ohne eiuigen Spnmg herunlerwetts step and without any leaps is called a
descending or lowly images had been linked to the concept of the steigendes thema, ein SubjeClulll Calaba- s//bjecfllm cafabafum.
musical-rhetorical figures since its inception. I In his definitions of the tum.
figures , Kircher emphasizes their role in expressing not only the text but
Spiess (Traclatus p.155)
also the associated affections: While Bunneister's hypotyposis was to Cantabasis [sic}, Descensus, Abfahrt. The catabasis, descensus, or descen l oc-
be used to make the text or events "seem" (videri) present, Kircher' s fig- Heip! in der Music, wann die NOlen oder curs in music when the notes or voices
ures are to actualize the intended affection. The catabasis,like so many Sing-Stimmen, laut des Texts, mit den descend wi lh the words, accordin g to the
WOTten absteigen, v.g. Descendit ad in- text, AS for example in "He descended
other musical-rhetorical figure s, is called to do more than simply reflect fernos . inlO hell:'
the text: it is simultaneously image and source of the affection. In his
definition of the figure , Walther mentions that the term is also used to
describe a chromatically descending theme or subjectum catabatum. This
CATACHRESIS : see FAUX BOURDON
would coincide with the description of Bernhard's passus duriusculus .

CELERITAS: see TRANSn V S

1. See Anabasis, H)potyposis.
216 circillalio circllfalio 217

CERCAR DELLA NOTA: see SURSUMPTlO Vogt call s the fi gure by a Latin tenn, circlIlus , he includes it in his list
of Figllrae simplices and not among his text-expressivefigur ae ideales.
ClRCULATIO, ClRCULO, K YKLOSIS: a series of usually eight notes Even though circular or infinite concepts are frequently expressed
in a circular or sine wave fonnation. through a circlI/ario, such a content is not frequently associated with the
figure itself.
The circulat;o (c;rclI/o, circofo ) is formed by pos itioning two opposite Most writers (aside from Kircher and lanovka) explain the circlilo
(rising and falting: i/Uendells and remittens) circllli me::; adjacent to as a fonnati on out of two opposite circuli met:i. While Vogt, Spiess, and
each other in such a way that, were the 1\\'0 "half-circles" to be superim- Manheson desc ribe the circulo mezzo in accordance with Printz's defmi-
posed, a circle of notes would result. The figure is defined both as a text- tion. Walther's definition is based on Brossard, a description which
explanatory musical-rhetorical figure as well as a simple ornament agrees with Printz's groppo rather than circulo mezzo. tn his definition
(figura Simplex, Mallier). This difference is further emphasized through ofgroppo, Walther explains that Brossard does not differentiate between
the use of both Greek or Latin (Kircher, Janovka) and Italian tenninol- circulo me==o and groppo, both being four-nole arching figures wilh
ogy , Customarily, classical tenninology is reserved for the musical- common first and third rather than second and fourth notes. L Nonethe-
rhetorical figures while Italian is used for embellishing ornamentation less. Walther's definition of the eight-note circulo is in agreement with
and figurations. Only Kircher and lanovka explicitly correlate the that of the other authors, even though he describes it as two circuli mezzi.
cil'clliatio with the expression of circular ideas or motion in the music's Mattheson deflnc s onJy the circulo mezzo, but he adds a fifth note to the
text. As a symbol of perfection, the musical circle has a long tradition figure , presenting in fact an entire half-circle . In Spiess's example, two
of expressing not only circular concepts but also the eternal, infinite, and ascending and two descending circuli met::; rather than one of each kind
complete, ultimately symbolizing God. L Like virtually all of Kircher 's are adjoined, resulting in a figuration which does not agree with other
2
figures, the circulalio is understood as a fonn of hypotypos is . The circuli.
remaining authors simply describe the motif ' s construction without
referring to any text-expressive content. Even Walther, who frequentl y Kirch er (Ml/5l1rgia L.8. p.14S)
Kud(,)(Jl <; sive circulatio est periodus The lc)'kltMis or circZlfalio is a musical
quote s lanovka in his LexicolI , does not mention the text-interpretive harmonica. q ua vO~'es quasi in circulum passage in which the voices appear to
nature of the figure. FurthemlOre, he only defines the Italian term. While agi videntur. serv itque verbis actionem move in circular motion, and serves as an
circularem ex pri meatibus. uti iIIud expression or words with a circular mo-
Philippe de Mome: Surgam et circumibo lion or content, as exemplified by
Civitatem. Philippe de Monte in the text; '" will
I . W. Kirkendate, "Circlilalio- Traditi on, A/llria Lacl ans , and Josqu in as Musical
arise and surround the ciIY."
Orator." Acla Musicoloxica 56 (1 984), 69. In this exhausti ve study of the musical
circle' s long history, Kirkendale points out that already " Hucbald understands by Jano\'ka (C!OI'is p.56)
"circlill/s" a short group of notes which ends on the note with wh ich it began , such as
Cin:ulatio est Periodus hannonica. qua The circl/lotio is a musical passage in
might be notated by the torcul us neume." Ibid.. 70. n .S. The suggestion that this musical
device is to be linked with th e rhetori cal figure Cirellfll! (circllfa I'hel orica?) or the qui le
voces quasi in circulum agi videntur, ser- which the voices appear to move in circu-
vit que ve rbis actionem circularem lar mocion, and serves as an expression of
unrelated reddil io is questionable. even though th e tt n ns may be related. Furthermore.
th ere is no reason to believe that Nucius in his definition of "omplexio was describing
expri mentibus. ut in hooce textu: surgam word! with a circular motion or content.
et circu[ ml ibo civitatem. as in the text: " I will arise and surround
the musical cirCl/lalio and not in fa ct a musical equivalent of the rhetorical comp/oio .
While the circulotio is a short motir which returns to its beginning note. th e compll!.lio th e city."
is a longer musical passage or ph rase (Nucius says H Ul'nr oll /a) which opens and doses
with the same material. See Conrp luio.
2. In a similar vein. Kircher definesjilga also as a texHxpressive mus ical_rhetorical
figure wh ich can be used to depi ct a pursuit or flight. rellecting the litm l meaning or the
figure . I. See Groppo.
218 circulatio ciN;III(IIio 219

Printz (PhrytliJ MYlllenueus VI.2, p.49) Circulo rncuo ist cine aus vi er Noten A tilclllo me;::o is a figure which con-
Circulo Mew formiret im Schreiben The circilio me:o forms a half.circle in be5tehende. ulld die Gesta lt cines halben ,im offOUT notes and visually represents
einen halben Krei~ f Wld bestehet in vier musical nOlation. and consists of fout Circuls \orstelJ ende Figur. the fornl of a half-circle.
gescltwinden ordentlich-gehmden NOlen rapid notes moving by step. in which the

~'F I r r r FI [EmFfE]1
I deren andere und "idle einerley I die second and founh nOles are on the same
elSie Wld dritte unterschitdliche Stellen pitch while the first and third notes have
haben. Er ist entwedcr lntendens. so
anflinglich auffsleiget I oder Remittens,
different pitches. It is either infendens.
beginning with ascending notes, or rem".

so anflinglich absteiget. lem, beginning with descending nOles. Printz abeT ... nertnet dergleichen Figur. Printz, however, calls the same figure.
deren CfSh! ulld drille Note einetley, die whose first and third notes hl",e the same
:----- ~w()1e und vierdte aber wtgleiche Siellen
haben. r in Groppo.
pitch while the second and fourth nOles
have different pitches. a groppo.

Mattheson t IlIpeJfmeisler p.116)

Printz (Phrynis Mytilenaeus pt.2, p.64) Der sogenanntc Halb-Ci rckel, Circolo The so-called half-circle or circ% me:;zo
Circulo ist I wenn zween Circuli meri The cirCII/O occurs when IWo circuli me:; mC1.zo. ist f~st dieser Art; doch elwa urn is very similar 10 yet half as large as the
also zusammen gestzt werden I dajl are combi ned in such fashion that the die Helfte kleiner. als der Groppo, Wenn Rroppo. It occurs when tile fonnation of
Reminens dem Intendenti folge in def remiflens follows the inffmdens one step die Ges talt der Noten, die gleichsam the notes depicts a half-circle, as it were.
nechsten untern I oder Intendens dem lower or the imendens follows the remil- cincn ha lbcn Ci rckel vor Augen slelle!. In fact. it is the kind of figure through
Remittent; in def nechsten obem Clave. lens one step higher. betrachtet wird. Eigentlich ist es eine sol which numerous smaller notes are fonned
ehe Figur. dadurch aus wenigen Grund- oul of a few fundamental notes.

~fr FF J JJJ I J JJJ rr rr I

NOlen gewisser lIlaassen ihTer mehr, und
kleinere gcmaeht werden.

Vogt (COIlc/Ol'f! p .148)

Alia vocatur circulus, ul. Another [figure simp/ex) is called circu
flU, for example:
Spiess (Traclotll.f p. 156)
Remlttens
Ci rculo, ei n Circul- oder Creij)-Figur, The circulo is a circle figure which con-
bestehend aus 8. geschwinden Nolen; sists of eight rapid notes. It is thus called
wird also gCllC1I1lI. weil sie gjeiciuam ei n because il fonns a circle. as it were.
Circul fOl11lin.
Walther (LexieOl1)
The circolo is a circle, and occurs: (I) as Ascenden! Descendens Mezzo
Circolo, ein Circul oder Crel; also heis-
set I .) die An des doppelten C) oder 0. a fonn of a double CO or O. which is
50 man noch in allen Musicalien naeh still encountered in old compositions as
dem clavi signala gesetzt antrim. 2.) a time signature after the clef; (2) when
wenn zween Circoli mew also xu- two circoli mtr.zi are combined and fol
sam men- und alleinander gehlLnget wer- low each other in such fashion that,
den, daj), 50 sie Uber einander gesetzt should they be superimposed upon each So sie aber 4. Noten hat, wird sie Cireulo Should the figure consist offOUT notes, it
werden sohen, sie einen vollkommencn other, they would visually represent a Mezzo oder Halbcircul.FiguT benanlSet, is called a drcuJo mezzo or halfcircle
Circul darstellen wOrden. complete circle. wie NlIlll.ll au sweiset; allwo auch der figure. as illustrated in no. I I. This also
Unterschcidl zwischen einem G roppo, illustrates the difference between a grop-
llJld einelll Ci rculo Meuo sich lIu$seret. po and a eircl/fo mezzo.
I
220 climax dim(/:( 221

CLIMAX. GRADA TlO: (I) a sequence afnotes in one voice repealed Nucius's definitions is reinforced through their common choice of a
either at a higher or lower pitch; (2) two voices moving in ascending or musical example which demonstrates the figure. the motet Maria
descending parallel motion ; (3) a gradual increase or ri se in sOUlld and Magda/ella by Clemens. Both early-seventeenth-century rhetorical and
pitch, creating a growth in intensity. musical definitions reflect the literal meaning of the tenns: both climax
and gradlls simply mean "step." In fact. the verbal root of climax (klino:
A gradual shift in the definition of climax or grado/io throughout the lO bow, turn away) suggests a downward rather than an upward or
seventeenth century is evident in both rhetoric and music . Quintilian and intensifYing mali on.
Susenbrotus use the term to describe a stepwise construction (climax. In Kircher's Musurgia Universalis the climaxlgradario is described
gradus: step. rung, ladder) of an oration in which a point is repeated and as an affection- and text-expressive device for the first time, in accor
explained before proceeding to the next one. Although the seri es of dance with Kircher's general understanding of the musicalrhetorical
expressions might be of increasing intensity. thi s is certainly not neces- figures . Intensification takes precedence over graduated progr~ss i on .
sary. Such an incremental intensification is termed auxesis or illcremen This interpretation is then adopted by all subsequent authors. Only
film. Gottsched no longer differentiates between the two rhetorical Walther's Lexicoll still includes the o lder definition. With his tennino
devices and therefore uses the terms increment"", and gradalio inl er- logical interests. Walther gathers together the diverse definitions of a
changeab ly. Reflecting the eighteenth.century emphasis all affecti ve term, including those which may no longer be current. He defines eli-
expression, he highlights the aspect of incremental growth in inten sity. ma.;-.;Igradatio first according to Ahle, second according to Nucius and
Gottsched thereby brings the elements of growth (auxesis. inCremell!lIm) Thuringus. third according to Burmeister but limiting the repetitions to
and graduated progression (clima-c, grado/io) together in the one figure. ascending ones, and finally as an upwardsmodulating canon. Scheibe
A sim ilar development in the musical definitions of the climax or and Forkel introduce the dynamic concept of crescendo into their defini-
gradatio can also be observed. Bunneister. Nucius. and Thuringus define tions of the grada!io, applying the device on a much larger scale than
the figure simply as a graduated progression. parallel to the definitions previous authors had done. As such it becomes an appropriate descrip
of Quintilian and Susenbrotus. Bumleister describes the climat as the tion of the famou s Mannheim Crescendo.
repetition of a certain sequence of notes at higher or lower pitches. 1 The combination of the auxesis and climaT by Baroque authors has
Nucius and Thuringus define two voices moving in ascending or de- led to some confusion regarding the understanding of the two terms.
scending paraliel motion-at thirds or tenths-as a climat or gradalio. Unlike Walther, some contemporary wrilers have chosen to define the
The use of the tenn gradalim in reference to simple step\v1 Se melodic terms together with only one definition. Any diverging definition of the
motion is encountered in most treatises of the time without any reference terms is then described as "somewhat of an aberration. "I Furthermore,
to growth or intensification. 2 The similarity between Bunneister and in focusing on only one definition, the possibility of tracing a term 's
termino logical development and providing insight into tbe historical
Context and devel oping aesthetic of musical concepts is severely hin
I , In his H)pomllcmullim Bunneister describes the po/iflogia as a repetition or a
dered.
theme at various pitches in different voices. In his later MlIs ic(I Poelica he places
limitations on these repetitions: they must occur in only one voice and at the same pitch,
It is also in thls treatise that Burnleister introduces the new figure climax. which repeats
a theme at different pitches but in the same voice. thereby assuming in part the role of sometime in Skipping: The Principles of MlIslt. 51.
the old climax. I. Unger regularly makes this mistake. resulting in numerous misunderstandings
2. Similarly. Charles Butler described one of the forms of consecutiofl (the and questionable descriptions of figures. exemplified in his discussion of GrOOmia.
progression rrom one interval 10 another) with the ternl GrOO"lioll: "nut the continued alU;l's is. climax (Beziehungen. 11). Instead of following the development of the tenns.
Consecution of other Concords is allowed, as weU ascending and descending. as Unger seeks to match iI certain compositional device with a tenn. thereby frequently
immorant in the sanle place: especiaUy of thi rds and si;dhs in (I ) Gradation. and (2) disregarding the figures' diverse tenninology and their ongoing development.
222 climax climax 223

Quintilian (lnsti/u/io IX-i ii.S4) Nucius (MI/fices I'oe/;cae p.Gr)

Gradatio, quae dicilur )()'.il'a~ ... repelil The gratia/lo. also called climru, ... re- Quid eSI (lima... ? Clun per Arsill & The- What is a climax? It occurs when two
enim quae dicta sun! d. priusquam ad peats what has already been said and sin. binae ,"oces si mili ter gradiunlllr. ut vo ices progress upwards or downwards
aliud descendat. in prioribus mistit. before proceeding 10 something else
cum Disc8mLlS & Basis in mul tis Deci- in parallel motion. for example when the

dwells on that whi ch preceded.
mis. aut Basis & Tenor in pluribus tert iis soprano and bass proceed in parallcl
procedunl. Huius ligurae usus circa finem lenlhs or th e bass and tenor in parallcl
Susenbrotus (Epitome 1'.84) Hannoniac potissim um spectatur. ubi thirds. The use of this figure is most fre.
G radatio )(,l.i)1a{. est quullI consequentia A grada/io or climax occurs when conse- au dirorem a\'ide fi nem e)(pectantem, qucnt at the end of a composition. 10
membra, ab iisdem ordiwltur est, quoties quent phrases begin with the same words adhuc detinere sllIdemus. which we strive to engage the listen er
ita per gradus oratio di stinguitur, ut dietio that ended the preceding phrase, fre- who eagerly awails the conclusion.
finiens particulam pmecedcntcm, inchoet quently altering the case endings. Or it
sequcntem. hoc modo. Nam quae reliqua occurs when an oration is construcl~ by lll\lrinu~,0Pllsclllllm p, 125)
spes libertatis manet, SI iIIi! et quod libet. step in which a word which ends a phrase Quid est (limax? Quae & grlKlalio dici- What is a climax? This figure, wh ich is
licet: et quod Iicet, possunt: et quod po$- begins the foll owing one, for example: tur. CSI cum per Arsin & Thesin. binae also called Xrodafio, occurs when two
sunl. audenl: et quod l udent, faciunt : et For the remaining hope abides in free- voces similiter gradiuntur. & cum yoiccs progress upwards or downwards
quod fseiunt. nobis molestum non tst? dom, and if it should please them, it is Discanlus & Aasis ill mult is Dccimis. & in parall~1 motion. for example when the
permitted; and whalever is permined, Basis & Tenor in pl uribus teniis proce- soprano and bass proceed in parallel
they consider; and whatever they con- dunt: Hllius f igu rae usus circa fillem tenths or the bass and tenor in parallel
sider, they dare; and whatever they dare, harmoniac potissin1Um spcctalur ubi thirds, The usc of this figure is most fre-
they do; and whatever they do, does it not audhorem Hvide ti nelll &spectantem. quen t at Ihe end of a composition, to
trouble us greatly? adhllc detincre 5\tujcmus. which we strivc to engage the listener
who eagerly awa its the conclusion.
Gottsched (RedekwlSl 1'.280)
Endlich ktimmt noch Gradal;o oder Cli And finally thcre is the grodotio or cli Kircher (,I/I/sur g/(! L 8. p.145)
malt, da man Slufenweise von cinem max, through whi eh one progresses by Vocatur Cl illl ~)( sive gradatio. estque The cUmru or graJat;o is a musical pas-
Wort auf t in anders. und von diesem step from one word to the ncxt, and from pcriod us han non ica gradalim asccndens sagc which aseen ds by step, and is often
noch auf ein stArkers fortschrcitet . this 10 a yCC more forceful one. adhiberiquc sole!, in affecti bus amoris used in affections of divine love and
divi ni & desideriis patriae ooclestis. ul yearning for the heavenly kingdom, as in
Gottsched (Redekll1l$1 1'.284 ) mud Orlandi. (Qttemadmodum desiderat Orlando ' s Qllemodmodllm desiderat ur-
lncrementullI s. Gradatio. Wenn man IncrememUnI or Gradatio. When one ccr\'us ad fonle s aquarum), ,'/IS ("Like as Ihe hart desiret.ll the water-
stufcnweisc von einer geringem Sache zu progresses stepwise from 8 weak expres- brooks. so longeth my soul aft er Thee, 0
einer grollem hinauf steiget. sion 10 a stronger one. Lord:')

Gottsched (Dichlkunsl 1'.344 ) Ah Ie (SnIHrII"rCt'ofpfllche p . l 7)

Man merke also ZUlli XXX. das Aufstei The next figure is the grada/io, through ~et er aber: jauCh lct und singel l sin- But wcre he to write: Rejoice and sing I
gen (Gradalio), wenn mall gleichsam wh ich one progresses by SlepS from. get und rtih rnel l liihmet IUld lobet: so ist sing an d glorify I glorify and praisc; th en
stuffenwcisc von riner gcringcn Sache zu weak expT6Sion to. stronger one, there- es cine Climax it is a cI/1mu.
ctwas hGheml fonschrei lCC. Wid also by expressing thoughts of conlinually
immer was wichligcrs ugt. greater imponance, Janm'ka ('/a"IS p 55)
Climax si\'c Gradatio est Periodus Har- See Kircher for translation.
Burmeister (MuJica Poe/ica p.63) moni ca gradmim ascendens, adhiberique
Climal( eSI, quae per gradu5 interval- The climax repeats similar notcs but on SOlei in affectibus amods divini. &
lorum si miles sonos repelil. ut hoc pitches one step apart. as indicated in Ihe des ideriis Patriae Coeleslis. ut intextu
el(emplum indicat. following example: fieret : qllemadrnodUJll desideral cervus ad
fontes aquarulll . ita &c.

0-'*01 VOgI (Com.-/tH'e p I ~ I)

Clima .... Gradual;s ascellSus. Figura est The dima.T is a widcly used figure which
COmlllUllis. ascends by step.
224 climax comp/exiQ 225
Walther (Lexicon) Mooulationen bewerksteJligt, und dann
Climax, oder Oradalio, d(JI(t~ . ist 1) The climax or grat/ario is: ( 1) a word fig. nli! der ersten An \ erbunden wird.
eine Wort-Figur wenn z.E. gesetzt wird: ure, for example when the- words art' SCI
Jauchut und singel. singel und rilhmet. as follows : Rejoi ce and sing, sing and
rOhmet und lobet. 2) dne Noten-Figur. glorify. glorify and praise: (2) a musical
wenn nemlich zwo Stimmen per Arsin & figure which occun when two voices pro-
Thesin. d.i. auf- WId Wlterwerts gradatim gress upwards and doy,TlwaJ"ds by step in
COLORATURA: see VARlATJO

Tertzenwc:isc: mit c:inandc:r fortgehen . 3) parallt'llhirds; (3) wht'n a passage wilh

wenn cine: Clausul mit und ohne Cadentz or without a cadence is immediately re- COM.M1 SSURA: see TRANsrrus
etlichemahl immediate oach einander pt'aled several times at progressi vely
immer urn tin Ton h6her Mgchrachl higher pitches; (4) this term can also be
wird. 4) d6rffie auch diesen Nahmen given to a fourpart canon in Which, as COMPLEXIO. COMPLEXUS, SYMPLOCE: a musical passage which
derjenigc: vierstinunige Canon verdienen, the first two voices ne-enlt'r. each timt' repeats its opening phrase at its conclusion.
welcher, so om zwo Slimmm von vorne one note higher, Ihe otht'r two voices reo
wiedenun anheben. allacil urn einc:n Ton main in the previous kt')' and yet still har-
hoher stcigel, da inzwischen die andem momze. The first musical reference to this figure appears in a rhetorical text
beyden Slimmen noch im vOOgen tiefTem without specifying a distinct musical device. In describing the symp/oce,
Tone 5ich aufhallen, wId dennoch zusam- Henry Peacham the Elder mentions that the figure is "pleasant to the
men klingen.
eare , which of some is called the Rhetoricall circle, and of others the
Scheibe (Cri/iJcher Mllsicus p.697) Musicall repetition." At the end of the Baroque, Gottsched also com-
Dn Aufstcigen, (Oradllio), wenn man The ascensiOIl (gradario) occurs when
menls on the musicality of this rhetorical figure, stating that "it is partic-
gleichsam stufenweise voo einem schw!i- one progresses by step from a \"eak pas-
chern Satze zu hOhem SlI.tzen fortschrei- sage to stronger ones, thereby gradually ularly pleasing in musical pieces." As Peacham indicates, the rhetorical
tel, und also den Ausdruck der Sache, increasing the importanct' and emphasis symploce or complexio is a combination of two other figures, the ana
oder die Stiirlce der Musik irruner wicht;- of the expression or music.... Is it not phoro and the epiphora. While anaphora signifies a common beginning
get lUld naclulrticklicher machet .... Wie dt'lightful when the music begins most
schOn iSI es nicht. wenn der Anfang nur teTlt3tivt'iy and, becoming progressi vely of a number of subsequent sentences, epiphora signifies common end
ganz schwach und fliellend ist, die Folge stronger and higher, finally evolves into iogs of the same. The symp/oce or complexio ("combination, swnmary";
aOO immer hoher sleig!, und wenn dar- the most powerful melody and harmony? from syn-, COII- , cum, with, together; and p/eclare or pleko, to weave)
aus endlich die sl!l.rkste Melodic und This moves the attentive listener and
Hannonic tnlsteht? Oicses rllhret und causes wonder and amazement.
weaves the two figures together into a new fomlation: common opening
setzet die aufmerksamen Zuh6rer in and closing words or phrases in a nwnber of subsequent sentences or
Verwunderung. passages. TIle di stinction between this figure and the epana/epsis, which
signi fie s the repetition of the opening word(s) at the close of one sen-
Forkel (Geschichte der MUJik p.58)
Eine der scMnsten und wirksamsten Ont' oftht' most del ightful and effecti \'t' tence , is not ma intained in the musical Figurenlehrel1.t
Figuretl ist die Gradation (Steigerung). figures is the gm/alio (i ntensification). Bunnei sler is the first to mention symploce, but he does not define
Man steigt gleichsam slUffenweise von This i! a stepwise progression from
it as a figure . Rather it is a compositional error which occurs through the
schwlchem Sitzen zu sllIrkem fort. und wea1.:erpassages to stronger ones. tllereby
drllckt dadurch eine inuner zunehmende t'xpressing an always increasingly power- "simultaneous placing of the disparate signs of a flal and a sharp [in a
Leidenschaft aus. Die gew6hnliche Art, ful affection. The conventional musi cal Chordj , thereby disturbing the nature of the perfect consonances by
sie in der Tonsprache auszudrOcken, ge- expression of this fi gure employs the cre-
,chicht durch das crescendo, womit man scendo, progressing from the quietest
einen Satz: vom ge1indestell Piano an, bis piano to the strongest/orlissimo. A supe-
zu dem silirksten Fortissimo fortfilhrt . rior form of the grooulio is achieved
Ei ne bessere Art ist es, wenn die-se when this intensification combines a cre-
Steigerung durch besllndigen allmllhli- scendo with I gradual and continuoUS
chen Zuwachs an neuel! Gedanken und growth in new idus and modulations.
I . See EpOlIQ/epsfs. Epanodip/osu.
226 CQlllpiexio comprl!xio 227

mixing the properties of one hannony with that of another.'" Burmei ster to a homophonic passage, similar to a noema. The specification that the
is driven by a concern to clearly identifY musical phenomena, both figure is used "0111~ in aH'ectiolls o f machination" seems to preclude the
figures and other compositional devices. with familiar and suitable interpretation of complexus as the "pleasant and soothing" device which
vocabulary. The use ofrhetoncal tennino\ogy to identify musical devices Burmeister and Thuringus describe. I
besides the ornameflla is recognized and commended by a fellow Kan- After Kircher's and Janovka's unorthodox definition of complexus,
2
for, Statius Olthoff. Bunneister's choice of terminology is governed epallaleps is becomes the preferred ternl for this figure ofrepelilion. ln
chiefly by a tenn's literal or general meaning rather than its specific addition. Vogt al so introduces the term epalladiplosis to describe tbe
rhetorical content. In choosing the term symp/oce he wishes to under- same device. In his Le\"icoll. Walther defines all three terms with similar
score not the interweaving of two distinct figure s of repetition (the definitions. retlel"ling his intent to catalog and define all known tenns
specific content) but rather of two harmonic species indicated by dispa- irrespecti \e of poss ible contradictions or duplications.
rate accidentals.
SusenbrolUs (Eplfoll/e p.54 )
Nucius, Thuringus, and Walther employ the Latin tenn comple:cio
COInplexio. :E \J~ :tAol(~ est cum orationis The comp/e.l io or symp/oce occurs when
to identify a certain musicalrhetorical figure of repetition. Their defini. alicuius membra idem pri ncipium eun- subsequent parts of an oration are given
tion. however, is not identical to the classical rhetorical understanding demque finem sortitmlllf. the sa me beginning and ending.
of the term but rather. like Gottsched's, describes complexio as the
Peacham (Gardell of Eloqllellce p.43)
repetition ofa passage's opening at its close.lbe specific reference in Symploce is a forme of spe-ech which
their definition that this musical device occurs "in imitation of the po- maketh llIany !llelllber~ or clauses follow-
ets," indicates that Gottsched was not the first rhetorician to describe the ing to have the same beginning & the
sallie ending which the first had going
compfexio with an epal1afepsis definition. Kircher, and after him Janov before. comprising both th e last oma-
ka, define the complexus. as they call it, with a divergent and more m~ltS /anaphora and epiphora] in one .
affective definition, a practice also to be observed in their definitions of . . . nlis figure may serve 10 any affec-
tion. and is a singulm omllment. pteasan t
repetitio and climax. However, it is not clear what is meant by their 10 the care. which or SQlne is called the
description of the figure . The reference to a musical passage in which Rhetori cal! circle. and of others Ihe
all voices appear to "conspire as if they were one voice" may indicate Musical! repet ition.

a unison passage within a composition.} This would portray a literal Gonschcd ( Redelmn.ft p.280)
rather than rhetorical meaning of the term. II is not likely that this refers Sympioce. Wenn Anfmlg Ilild Ende vieler S...mploce. When a number of subsequent
aufeina.nder folgcnder Abslil1e einerley passages have the same beginnings and
sind. endings.

I . "Symploke cst Disparmorum enunciandorum ~ aut t & II appo sitio vel aetn vel Goltsched (DichlkllllSl p.324)
potentia pemlixt8. omnem consonantiarum perfectarum, rum etiam suatn ipsius natllram Himler (repetitio1 gehoren dcnn auch die Another form of the repetitio consists of
invertens, uniusque eoneentus naluram naturae alterius complieans" (MUjica poerica. WiederhollUlgcn. d~ man in ganzen Slro- a repet ition of the opening lines and
30). In using both sharps and flats as aecidentals in one hannony. the composer woutd phen die efMcn Zeilen lind WCiner. am words of a stanza at its conclusion. This
be m.ixing major semilones (consisting of 5 conunata) with minor semi tones (ha ving 4 Ende derselben noch einl'l1al bra uchet. can be called a symp/oce, and is particu-
commala). nlis procedure is tater defined by Bernhard as a figure called consonalliia Welches sonderlidl in 1lIlisikalischcn larly pleaSing in musical pieces.
impropria. See also Apotomia.
2. See above. 115f.
3. In his discussion of expressive composition in the srY/lu rhealra/is, Bernhard also
suggests that the repetition of a text might occur "in unisOllO where elegance thi s allows" I. See ./I,IOl'ma. Unfortunately. I have not sm.'ceeded in locating the Clemens motet
("Die Wiederhohlung de-s Textes soli entweder gamicht. oder nur an den Onen, wo es A~lilenl/ll R('ge.~ (Psahn 2.2 ) referred to by Kircher. which would no doubt help e1arify
die Zierligkeit zul!tPt im Unisono gebraucht werden"). Tractatu$. ch.35. 8. Klrcher' s understanding of the Cf)mJl/e."IS.
228 n)lurle.l i o cnllgeries 229

Stilc\..en an geneh m flillt. und SYOIplo\:t C Oi'G ERJI S, SYNATHROISMUS: an accumulation of altemat ing
hel~en kwm . perfect and imperfect consonances, such as root-position and firs t-
}lucius (Mlj.!tn!s P()t'llcae p 03) inn'rsion tfla Us.
Quid est Cumplexio~ Cum Hllulloniae \Vhat is ~ romp/('xw? It o..curs \,II Cn th~
initium in fine rep etituf. ad imi tationem beginning of a IWl"IllO/lill is re p~ atc<.1 .It
Qu inlilian and Susenbrotus both denne collgeries as an accumulation of
poet3rUm qUI saepe uno eodemque the eud. in l!l1l1ation of the poets, Ilh"
\"Ocabulo versum incipiwlI & c1audul1l' \II frcq\lcntl~ bcgill and end a verse 1\ uh L"'~ tenns describ ing. an o bject. a fo rm of amplijicario. An object might be
Egl7. Ambo llorentes aetatibus. Arcades same \'ord. :IS in. " Bolh in th e flol\ er <11 described Ih)ugh synonymous ex pressions or through more dispmute
ambo. Hui us Sehematis mu lla sun t life, Arcad ian s bOlh ." TIlCre afe 111.1il\
one"-. While Qui ntilian defines the figure as a collection of similar
Exempla Musiea. ut in Al!eluja sll rT e:.:it musit'al examples of .his figur ('. sut'h a,
pastor bonus. hem in Noe. No/' & iteru m Allr/II/<I ~ 11!'1'll'lI pa~/()rl)(1l11lt and Yo" expressi ons. cQinciding with Susenbrotus's s),fl onymia, Suscnbrotus
l"oe: Vitam quae faciunt Ja..obi Vae, . Noe & IIlll1l11 Noe by Jacobus V a~ 1 defines cOII~e ries or coacervQ/io as a collection of varying terms. coin-
ciding \\ il h Quint ilian ' s s),narhroismlls.
Thuringus (Gpl/sclllllm p .125)
QUId est Comple-..:io? Cum harmomac Wlmt is a w lllpl e.rio? Ii occu rs \\ hen Ihe The tllu:.ical congeries is included onJy in Bunnei ster' s Figllren-
milium mline repet itur. ad im ltationem beginning of a IWl"(II o lII (l is rep~at ed 31 lelwe . Three o f the rhetorical terms. congeries . synarhroismlls. and
poetanun, qui SIICpe lU10 eodemque \ 'OC3- Ihe end. in imitation of the poets. I\hu coacerwllio. appear in his definiti ons. the first two as identifying tenns
bulo versUl11 incipillnl & daud unt . frcqu{"t1ll~ begin and md a wrse II"nh the
same word. and the third as a description o Cthe figure. nle rhetorical accumulati on
of various tcmlS is replaced with a musical accumulati on of vario\lS types
Kircher ( M II,wrgill L.8. p 145) of consonances. thereby establi shing a relation ~hi p between the rhetori -
LIIIIIl AU!'; ,... si\'e Complexus est periodus The .n ml, I,)('t! or c nml'/e.lIl:l tS :I mUSh.al
passilge in which the \ olces ap pear to eaJ and musical content of the tenn , both reflec ting its literal meaning
harmonica. q ua voces quasi in unum 5;
conspirare \'identll r. adhibertque solct ill sound togeth er a~ though Ihe) \I ele (lne (congeries. from congerere. to ga ther. accumulate). Musical ly. the
aff~tibus machinat ionllm. lit Illud Cle- It is only used in affection s of machln a - description of an "object" (a certain hurmony) is achieved through an
mentis non Papa. Astitcrllnt Reges te rra tion. as in C1c1l1en~ non Pap ~ 's 04 511/('111111
Regel' ("nle kings of the eanh 1<lI.. C th eir
"accumulatil"l/l" (congeries , coacermtio) of perfect consonances (root-
adver sus D0111inlll11, & ad.versus Chris-
tum eius. stand. lind th e rulers take COlUl scl 10 position triads wi th the proportions 3:4:5) and imperfect consonances
gether 3gainsllhe Lord and again st Hi, (first-inversion triads with the proportions 5:6:8). These musical expres~
Ano inted." Ps.2.2).
sions are at once synonymous and disparate. Like the rhetori cal conge-
Janovka (Om'is p.55) ries. the musica l device is al so lIsed fo r purposes of amplification: "The
Complexus di citur Pe riodlls harmonica. The co mp/It.tll! is a musical passage in corplls of the composition [i .e. cOIl!watio!conji/"llwtio I, situated between
qua voces in unum conspirare videm llr. which all the voices app ear to so und 10'
the exordium alldjinem sections. comprises cOl1geries. by whose texture.
adhiberiquc sole. in llffectibus machina- gethel in uni son. It is onl y lIsed in allec-
Honu m. II! si textus sit il1e: Asti lerUlll liulIS of machination. as in .he f(l ll o\\i ng sim ilarly to the \'aried arguments of the rhetorical cOlljirll/ario. minde; are
Regc~ terra adversus Dominllm. et adn:r- te-..:t : "The kings of the eanh tll\.. e .hen penetrated in oruer to dearly grasp and reflect on the sense lor Ihe
sus Chnstui ll elUs. stand agalllsl Ihe Lord and ag~in sl fh~ textJ ."1
Anoi nted One."lPs.2.2 )
Bumleistcr' s inclusion of congeries in the figurae tam JllIr"'OIriae
\\'311h('r t/lrican ) quam lIIelodiue IS explained through the figure' s relati onship to the jaw:
(ompk-..:i n heisset: wenn der Anfang The coml" e lirl (lCCllTS when the 'rleglll -
eines h:mnonischen Sat7.es am Ende wie ning of a mllsical passage is repeat cll ~I
derholt wild. ad imitationcm del Poeten. ils end. in imilMion of the poets. "Ill'
"clthe Offte rs mit einem Wtlrle eim:n frcqu ...ml~ begin and end. a \ erst \\ Ilh (ll:e I "Corp us Callu lenarum esl intra E-..:o rd ium Finem alTeelionUIll sive pe ri odorum
\ 'ers anfaugeu. und mit del11 selben all ch and 1he same \lord. COIn prehenS3 conwes. qui bus textus \lelut \ arii s Confinnationis Rh(loricae arglUllctllis.
Illedennn schlilssen Z E. C resci t amor aninl is ir:s m uru tl ur. ad senlenlialll darius arripicndal11 & cOllsiderwldaul " MUJica
1I11l1llUl. quantum ipsa pecunia crescit P<JelJea . 72
230 congerie5
canSo/lamiae impropn 'ue 23 1

is all elaborati on of one thought. th e con-

bourdon. This association is expressly mentioned in Burmeister'sfmQ geries is an accu mu lation of numerous
bourdon defmition. While the congeries features an alternation bet"'/een di fferem th oughts.
root-position and fll'St-inversion triads resulting from continuous synco-
Gonsched (ReJckunst p .288)
pations through suspensions in one of the voices "in which paralle l
Cumulus \Venn man viele Dinge zusam- O mlllflu. When a number of thoughts are
motion has been abandoned," the fala bourdon features a series of fIrSt- men hallft'L mId cine Menge kungefalliet amassed. and numerous short e.xpress ioru
inversion triads resulting from parallel motion between three voices at Vorstcllungen gesch ..... inde hintereinan- are blurted out in rapid succession as if in
the third and the fourth, The congeries is thereby a faux bourdon with der. gteich~am In einem Othem. heraus one breath, in order to forcefu ll y move
stoP!. seine ZuhOrer desto sHirker zu rUh - the listeners.
a syncopated upper voice . Thus bOlh the faux bourdon, also termed simul ren _
procedemia (similar progression), and the associated congeries are nOI
primarily descriptions of chord progressions but rather specific melhods Burmeister (Ib po mnem atum )
Congeries III friblls saltem vociblls lam The cougeries amasses either ascending
of voice leading which result in the described chordal textures. Bunneis- perfectas. quam impenecta! COIIoordanti or descending perfect as well as imperfect
ler's understanding of a musical composition is still governed by arum specie'S. n~1 in RSCensum vel in des consonances using at least three voices.
sixteenth-century imitative counterpoint rather than chordal. basso censum coacerval & per vi ces commlltat. causing all alternation in hannony.

continuo texture, prompting him to classify the devices as both hanllonjc ,

~-
and melodic figures. While concerning themselves with individual voices
or melodiae, the entire harmonia is affected. With the changing concepl - I-
Ii Ii "*
of music and the resulting redefinition offaux bourdon as catachl'esis,
the justification of the congeries as a figure through its association with
- :!: I
" " I- F
faux bourdon is removed, resulting in its omission in subsequent discus-
Burmeiste r ( " /!m~'o Poe/ ico p.65)
sions of the musical-rhetorical figure s, Congeries :Eln- Urp (o~~ est coacervalio The cotlgeriC$ or synmnsm os is an acco-
specierum cOllcordantium tam Perfecta nmlation of perfect and imperfect conso-
Quintilian ( /mlilUlio VlII.iv.26.27) ru m. quam Imperfectarum. quarum par nallces. ill which parallel motion has been
Polest adscribi amplificationi congeries The congeriu or accumulation of words mot us est COllceS5 US. abandoned.
quoque vcrborum &C smlcmiarum idem and sentences of identical meaning can
signifieantium. Nam eciamsi non per also be regarded as a fonn of amplific a-
gradus aSCC'Ildant, tamen velul accrvo tion. For although the expressions do not
quodam adlevanhlr.. . . Simile est hoc climax by step. they nonetheless heighten
CONSONANllAE IMPROPRlAE: false consonances, such as certain
figurae. quam ouvaOpou,p.6v vacant. the argwnent through such an accumula-
sed illie plurium rerum est congeries, hie tion . . . . This is similar to lhe figure fourths. dim inished or augmented fifths. augmented seconds, and dimin-
lUliu5 multiplicalio. called synothroismu.s , except that while ished sCYenths.
the later accumulates numerous differellt
expressions, the fonner elaborlltes on
only one thought. The use of the various augmented or diminished consonances is not
nonnally allowed in the strict styllis gravis. Bernhard, whose concept of
Susenbrotus (Ep itome p.7S) the fi gures is determined by an acceptable use of dissonance, justifies
Congeries Coacervatio, cst dictionum. res The congeries or c()Qcerv(ltio is a se
varias significantium enumerati o. Quale quence of words with varying content. as these intervals through passing notes (transitlls) or suspensions (synco-
est iII ud ad Rom. 1. PIOlOS omni iniquita- exemplified in Romans, chapter I : "being patio) . both devices pennitted in styllls gravis composition. It is only in
Ie malitia. dolo scortatione, avaritia, mal- filled with all unrighteousness, wicked- his TraC/(IllIS that Bernhard identifies the various irregular intervals as
ignitate. contentione. etc. Differt a syno- ness. greed. evil, full of envy. murder ,
nymia, quia in hac uniu! rei est m ultipli- strife. deceit, malice. gossip. slander,"
catio, in ilia multarum rerum congeries. etc. In contrast to the synonymla, which
232 ,on.wnantiae ;mpropnae cUHsonafl/iae inrpropriae 233

figures. 1 The tertia deficiens and ils inversion. the sex/a sliperjlll(J, arc
listed as COl1sonamiae impropriae but are also given separate consider.
ation as rlgures only used in the styills theatralis. However. the se 1\\0
intervals are notated not as thirds and sixths as their name would impl ~
but rather as augmented seconds and dimini shed sevenths. In naming
these intervals, Benthard is not interested in their writlen form but in
their hannonic construction. Mathematically, the augmented second is Vor Quarta Ulld Qui nta 5Owolll deficiente Regarding both diminished and aug
in fact smaller than the minor third, the same being true for the inverted sis super(1ua dap solche in Mittel mented fourths and fifths. it has already
slimnlen \'or Consonirend passiren, ist been mentioned above (ch.14 no.5) thai
intervals. 2111erefore, these interval s cannot be written as fOfms o f the droben Cap.17 No.5 albereit gemeldet these are accepted as consonant in middle
third or sixth and are thereby " fal se." Because the second and seventh worden . .. . Sexta Superflua und Tertia voices . . . . The augmented sixth and di-
are not included in the list of consonant intervals, Bernhard classifies deficiens wird nur in St),lo Theatrali minished third are only admitted in the
lugelapen. wovon dnUlten. slylus Iheatralu. discussed below.
them as thirds and sixths. However. because of their extreme hannoni c
construction, they are not deemed to be "true" consonants and are there Bernhard (TraelOtllS p.89)
fo re impropriae. Tertia defidens ist ein tntervallum so The tenia dejiciens [diminished th ird] is
noch nicht gar eine Tertia mi nor ;st, lind an interval which is not quite a minor
bestehet in folgendcn clavibus: third, and is written as follows:
Bernhard (Troett/tlls p.79)
The co"sollall/iae impl'opria include all

. ..
Consonanliae impropriae sind aHe drei
Species der Quartae. Ilnd Quinta defi
dens wId superf1ua. $e.xta superflua. und
Tertia dcficietl!. Die eme Spedes der
three species of the fourth , the dimin
ished and augmented fifth. the llllgmcm cd
sixth. and the diminished third. The fir st
~. II .. II ~ ~ II I... ije
II
Quartae nemlieh die vo ilige. so aus 2 species of the fourth. namely the perfect.
Exempla wie sie gebraucht wi rd. Examples of how it is used:
Tonis und einem Semitonio besteht, ist which consists o f two tones and a semi

~
von denen Hel.ltigen privilegiret. und fUr tone. is privileged by today's composers
consonant angenommen worden, derge-
stall. da~ die auch loco impari bipweilen
and accepted as a consonance. and can at
limes even be used on an uneven lstrongl
~. It::: ... 2'=
kann gebraucht werden. doch also da~ sic beat. However. ( 1) it must be approached

~
( I ) nieht in saltu 50ndcm in gnKtu sey. by step and not by leap; (2) the lowest
(2) die tieffeste Stimme stille stche. ehe
die Quarts angchet, und bi~ eine andere
vo ice must remain sustained before the
fourth is sounded and until another con
a:
Consonantz auch in Gradu vorilber sc:y. sonance likewise approached by step is
Se:>.1a SUperflU8 ist Sexla minor addito The sex/a sliperjlua (augmented sixth] is
(3) Dap die Sexta darilber gebraucht soUllded; (3) the sixth must sound above
Selnitonio majore. ulld beSlehet in dec minor sixth with an added major semi
werde [, als:] it. as follows: gleichen clavibus. tone, and is wrinen as follows:

I . Besides omitting the consonantiae impropriae in the BeriLhl. other figures

explicitly mentioned only in the Tme/alliS include pr%ngatia. syncapali/)
catachreslica. POSSIiS and sa/ills duriuscuills. mlltatio lon i, inchomio impeljecro,
/onginqll(l dis/on/ia. qlloesilio norae. and eadentiae drwiuscu{ae.
2. The major third minus the diatonic semitone is less than a minor third: 5:4 x CONTRAPOSITIO: see ANTITHESIS
15: 16 75:64 < 6:5.
234 coria t/imillllffo 235

CORTA: a three-note figure in which onenote'sduration equal s the sum D ESCENSUS: see CATABASIS
of the other two.
D lA BASI S: see METABASIS
The corta, which simply means "short" in Italian, is a concise rhythmic
figure which belongs to the species of ornamental figurae simplices D HIo'U1,nJTIO, MEIOSIS: ( I) various elaborations of longer notes
(Vogt). The term does not refer to the duration of the entire figure, as this through subdi\'ision into notes of lesser duration; (2) a restatement of
could be the same as the bombus or circulo mezzo. Rather, it refers to thcmatic material in proportionally shorter note-values.
the number o f notes employed to construct the fi guration. Neither the
term nor any accompany ing definitions suggest an expressive Content The dimil1l1fio has a long musical as well as rhetorical tradition. In both
or application of the figure. However, due to the inherent rhytlunic drive disciplines it is a fonn of elaboration which can lead to a fault if exagger-
of a series of cortae, it is frequently used in compositions which wish ated. QuintiJian uses the Greek term meiosis to describe such a fawt, but
to express agitated or joyful affections. The corIa also form s the basis indicates that the device can be used appropriately as a figure , Susen-
of Printz's suspirans, where the one longer note is subdivided into a rest brotus points out that the dimifliltio is an understated elaboration of
and a note of equal value to the other two. something or someone for the purposes of expressiveness or decorum,
Erasmus describes it as a "plentitllde o f words. Sometimes it has the
Printz (Phryn;s Mylilenaeu.r pt.2, p.54) sa\"{)r of hyperbo le as in 'shorter than a pygmy, ,,,1
Figura Con a bestehet aus dreyen ge- The figura cOria consists of three rapid
The musical dim inillio originates in eleventh-ccntwy florid organum,
schwinden Noten I deren doch eine so notes, one of which has a durati on equal
lang ist I als die Uhrigen beyde zugleich. to that ofthe other two combined. in \\hich the melismatic dllpilim is regarded as a diminlltio on the camus
jirmus. In the early-founeenth-century treatise De diminutiolle contra-
punet; (CS HI. 62ff.), the anonymous author explains how to set nwner-
II ous notes in the counterpoint against one note of the canlUS jirmlls.
Gradually the practice of diminut;o was expanded to incorporate the
Walther (Lexicon) embel lishment of a melodic line in counterpoi nt. During the Renais-
Figura corta bestehet aus drey ge- The jigllro carla consists of three rapid
schwinden Nolen, deren tine aHem so notes. one of which has a duration equal sance, the practice of diminllfio " is not merely arabesque embellishment,
lang ist, als die ilbrigen heyde. to that of the other two. but now also serves as a means of expressing the text and the affection.,,2
Diminutio continued to refer to both an improvised addition to a compo-
Spie5s (Troctolu$ p.156)
Cuna, kunze, kleine, geringe, wird sie The CIIno, meaning short, smail. slight. sition and a consciously composed fonn o f elaboration. The preferred
vermuthlich darum genennet, wei! diese is probably called such because it con terms for these embelli shments are the Italian passagio and coloratllra.
Figur nicht aus 4. oder mehrem, wie alle sists of onl y three rather than of four or
Whi le Prae torius does not presen! a systemat ic Figurenlehre, he does
andere Figurae. sondem nur aus 3. Noten more notes, like all the other figurae
bestehet. [simp!ice..r]. define various associated tenns in his writings, including diminlltio. Both
he and Walther give coloratura as an altcmativc ternl.J Unique to Prae-
Recta Inversa Aequivalentes

~rU I. Sonnino, Ifandbook, 95.

2. H. Engel. "Diminution." MlIslk I" Geschichle IlIId Gegenwarl 3: 493.
3. In his defi!lilion of 'arialio. Bernhard lists pouagio and c%ra/lira as altern alive
terms. The lem! dil'isiOlles or dil'isiolls is also used to refer to ornamentalion. In his
DEMINUTIo: see TRANsnvS /'1t'T"i.~ '\(l'l ilellaell' (pI.2, 47) Printz uses the Gemlan trans lation of this term,
leuheilzlIIg, in defining the ,arimiones.
236 diminutio diminlllio 237

torius is the distinction between the diminlll;ones, which move by step he mentions that , in contrast to freer imitation, "the progressions and
(gradarim) using the embellishments accenflls, Iremulo (defined as a leaps of the subject are presented through the diminution figure s with
trill), groppo, and tirata. and the passagi. which use ornaments moving fasle r notes but always in strict imitation.'" This kind of metrical or
by leap. step, or remaining on the same note. Although Walther also durationai diminut ion. widely used in Baroque fugal technique, has its
distinguishes between the diminllriones which move by step and those orieins in medie\'al mensural notation, where it "is used chiefly in order
which move by leap, this differentiation is not renected in his tcmlinol. 10 i~Hroduce into perfect prolation short groups of dupiets.,,2 lbis change
ogy. Under the diminutio (or coloratura) he lists all of the various in time signature would result in a reduced duration ofthe notes, thereby
figurae simplices. Spiess defines dimilllftio and variatio separately in his efkcting a dimilllllio. lt is thi s understanding of the tenn which Walther
treati se. The diminutio can occur through an embellishment orlhe notes appends to the end of his definition. This "early practice," as Walther
(diminurio nOlarum) or the theme (diminutio subjecti oder ,hemafis). In calls it. is frequen tly encountered in canzona composition, where the
his example of diminutio nalarum, Spiess only uses embelli shments theme is sectiona lly treated under varying time signatures. Durational
which move by step and fill in the span between the intervals of the dimil1llfio is also an important device in sixteenth-century imitative
original melody, suggesting an adoption of the Praetorius understanding. polyphony. where the counterpoint to a theme could introduce the
This example, like those ofhisfigurae simp,'ices, is only melodic. The subject in proportionally reduced note durations, thus combining both
diminutio subjecli is not simply the ornamentation ofa given melody but fonllS of diminufio. One of the fine st examples of this technique is fOlmd
is an embellishment of the subject or theme through additional. fa ster- in 1. S. Bach 's Canollische Variatiolle" fiber Von Himmel Hoch (BWV
moving voices. Spiess illustrates this in a two-part setting in which the 769,4: Calion per augmentatiollem). The soprano line is both a strict
upper voice is a figurated counterpoint thematically based on the accom- diminution of the bass line, as well as a figurated or embellished addi-
panying theme. He mentions that diminulio subject; is also known by the tional voice.
Italians as soggelo sminuito. in the definition of this teoo in his Lexicon,
however, Walther fails to make Spiess's differentiations, citing the tenns Quintilian (/llstifillio v m .iiUO)
Vilari debet et ~E (WOl e;. cum sermoni The meiosis oUght to be avoided. It is a
diminillione and double as alternatives. I Spiess describes the variatio.
deest aliquid. qoo min us plmw sit: quan- fault which consists of an inadequate
on the other hand, as a device which can use both the diminUlio and all quam id obscurae potillJ quam inomatae form of expressioo, the oration charac-
ofthejigurae simplices . in fact, he defines all hisfigurae Simplices under orationis eSI "ilium. Sed hoc quoque, terized more by obscurity than a lack of
the tenn variatio. Similarly, Vogt describes a variatio as a combination cum a prudemibus fit, schema did solec. ornaments. But should it be employed
prudently, il is considered to be a figure .
ofjigurae simplices.1
Besides referring to the art of ornamentation, dimim/tio is al so used SusenbrOlus (I:.pilome p.81)
to describe the proportional diminution of the note values of a theme. ) Diminutio J.lE(W(JU;. est qua personam The diminutio or meiosis occurs when we
vel nostram aut rem aliquam venustatis, weaken the description of a person or
In his definition of imitatio, Spiess again refers to the diminllfio. Here sive modesliae ~ ut contemptus, interim thing for the sake of charm, modesty.
iam persuadende ae miligandi gratia contempt, or at times even persuasiveness
txtenuamus. or appeasement.
1. "Sminuito, diminuin, kleiner gemaeht, d.L wenn an stott einer grossen lind
Praetorius (~)'IIt(JKma Musicllm llIp.232)
langen Note, etliche kleinere und kiirtzere geselzt werden: ist also eben so viel, al s' FUrs ander mup tin S~ger rechte Second [in addilion 10 a good voice]. the
Diminutione. Double."
2:See Variatio.
3. The schema/oides is another figure which can signify metricRI diminut ion.
-
Funhennore. Scheibe explains that the porQ/wmasia. an altered repetition of a theme, 1. See M ime.fis .
can also be used to repeat the music "with a changed or slower beat or with notes of 2, Willi Ape l. The NOIalion o/PoI)'PhOtllc Music (Cambridge: Mediaeval Academy
double duration." See Po"ollonlosia, &hemalOides. or America. 1953), 151.
238 dimimuio dis/db" ti" 239

Wissenschaffi haben I die Diminutiones singer must possess the expertise to ap. OlminullO Subiectl
(so sonSlcll in gClllci.n Coloraturen gellen- propriately and graciously execute the
net werden) lieblich und Apposite zu diminllliones. otherwise generally called
fonniren . Dimintnio abeT isl l wertn cine coloroturen. Diminlllio sign ifies a dis.
gr6ssere Nota in viel andere gesthwilldc: solving or breaking up of a longer note Subjectum
und klc:inc:re Noten resolviret und gebro- into nUlllerous faster and smaller notes.
chen wird. Dieser sind nun wlIc:rschied- and can occur in various fonus and meth-
liehe: Ar1en und Modi : Deren elliche ods, including in successive stepwise
Gradatim nacheinander folgmde I ge- fash ion. as for example the accell/us,
schehen: als I Ae<:ell\us. Tremulo. Grupp; tremulo, gruppi, and lirulQ . DI STRIDUT IO: a musical-rhetorical process in which individual motifs
und Tirala. or phrases of a theme or section of a composition are developed before
Walther (Lexico,,) proceedi ng to the following materia l.
Diminutio iSl eben was Colorarura. wenn The din/inulio has the same meaning as
man nemlich cine: gro~e Note in viel 1.:16- co/(xolllra, namely the division of a long Only toward the end of lhe Baroque era does the distributio fmd a place
ne zerthtilet. Es sibt deren vielerley Ar- note into numerous shorter ones. This can
ten. als: I) gradatim gchende, dergleichen be accomplished either through the many among the musical-rhetorical figure s. II is firslmentioned by Mattheson
die Trilli, Tremoli. Tremoletti, Gropp;, stepwise ornaments, such as trilli, tren/ o, as a figure of amplifi cation which, together with mimesis and expo!itio,
Circoli mezzi, Fioretti, Tirllle, Ribattuti li, tremo/el/i, groppi, d rcoli me::i,jiorel- can be used in fugal composition . I None of the figures are explained,
di g01a, u.s.f. sind 2) Sahuatim eingerich- ri, lira/e, ribottUfi di gola , and similar
figures, or through figures whi ch leap by
however. suggesting their general fami liarity and wide-spread use. While
tete. nemlich um eine Ten, Quart, Quint.
II.S.C. springende. EhemahJs hiep auch a third, founh. fifth. etc. Previously, the rhetorical mimesis and expolitio signify methods of varied and
Diminutio. wenn def Tact urn den dritten diminulio also referred to the acceleration embellished repetition, the distribll/io is used to subdivide the general
Theil. oder UIll die Helffte gcschwinder, of the established IOCIUS by a third or a
argument into its partic ulars and discuss each one individually. Both the
als ordinait gewOhnlich, gegeben wurde. half.
rhetorical expolilio and distriblllio can make use of further figures, and
Spiess (Trot /a/lis p.156) can therefore be considered processes of elaboration or amplification as
Verkleinerung, Vermindenmg, hat ein Diminution or reduction has a twofold
much as indi vidual figures.2 JUSI as distriblltio and expolitio are abso-
doppelte BedeuUlu~ in der Music: cine musical meaning: one is called dimimllio
wird genenuet Diminutio Notarum. die notanlm, the other diminlltio s ubjecl; Of lutely fundamental to the rhelorical process. being indispensable to the
andere Dinlinutio Subjecti oder Thema- themalis. The first occurs when a longer con/walio and cOl1jirmalio, so too are they essential in musical composi-
tis. Die erste geschiehet, wann aus einer note such as a hal f or whole note is di-
tion. In sing ling out these figure s. Mauheson not only points to funda-
Nota eines gr(Isseren Valoris, v.g. aus vided into numerous shoner notes.
einer Noten eines ganlZen oder halben Diminll/io subjecti or IhflmQl is. called mental musica l-rhetorical devices but to the process offugal composition
Tacts mthrere und k1einere gemacht wer- soggeto sminuito by the Italians, occurS itself. Having established the musical-rhetorical compositional steps of
den. Diminutio Subjecti oder Themati!, when a subject which consists of longer
inventio. disposilio. and e/ocllfio. complete with all the accompanying
welches die Italiliner Soggeto Sminuito notes i5 accompanied and extended by
nennen, ist. wann das Subjectum, so in shorter notes in the other voices. This
langgU1tigen Noten bestehct, durch an- usually occurs when a compositi on is
de re neben-Stimmen dutch kleinere being concluded with a fullvoiced tex I. Capellmei.I/f.'I". 244 Of interest is TIluringus's use of the word ,/isln'blliio in his
Noten mit und fongefilhret wird; wel- ture. definition of filga ("Quid est fuga? Est ... artificiosa di stributio"), suggesting a much
ches meistens zu geschehen pflegt. dll das earlier link between the rh ctorical and musical compositional devices. See Fuga.
Musicalische Stuck vollstimmig zu Ende 2 . "Expolilio. when we abide still in one place. and yet seem to speake diverse
getrieben wi rd. thing s. many times repeal ing one sentence. bllt yet with other words. sentences,
exomation. and figures" (H. Peacham. Gm'dell of Eloquf.'lIce. 193). "Distriblltio is a
g~.e~all word. comprehending diverse special kinde s. .. the first distriblltion is by
dlVtslOn of th e generall Idiaresis or divi sioj. the second by panition of the whole
[Partilio]. the third by CllIlIller8tion of the subjects (enumerlltioj. There are besides divers
other figures which are kinds of distribution, but yet diffcring from these three" ( 123).
240 distriblilio distributio 241

structural devices, the rhetorical disrribll/io can also be transferred to the Q<JlIsched (DichrkullSt p.330)
Die XIV. mag die Zergliedenmg (Dis- The next figure mighl be called subdivi-
musical context.
trib utio) heipen. lind besteht aus einer sion (dis/ributio), which consists of a
It is Scheibe and Forkel who elaborate on the musical disrr iblltio. ausfilh rl ichen Erziihlung aller Theile. die thorough discussion of every aspect of a
Both authors point to various methods of "dissecting" a theme . Sche ibe bc\ einer Sache vor kommen; wodurch thought. thereby allowing it to be clearly
highlights thematic fragmentation both of a fugal theme and of a con- denn dieselbe dem Gemiithe sehr deutJich and thoroughly perceived.
und ausfUh rlich vorgestellet wird.
certo's or aria 's opening material (proposirio). Forkel discusses the
distributio Wlder the dispositio or arrangement ofa musical composition, Scheibe (Crilischer Musicus p.692)
rather than under elocutio, the residence of the musical-rhetorical fig- Die Vllte Figur ist die Zergliedenmg. The next figure is subdivision (dis/ribu-
(Distri butio.) Diese geschieht, wenn man tio). This occurs when the principal
ures. Expanding on the distributio' s concept of going from general it ies einen Hauptsatz eines StUckes auf solche theme of a composition is presented in
to particulars, he includes the elaboration on a chord or hannan), in Arl ausfiihret. dap man sich bey j edem such a maJiller that each of its parts is
addition to thematic fragmentation. Indicative of his Enlightenment. even TIlcile desselben nach einander besollders successively and thoroughly elaborated.
aufhlilt. Wenn man etwa ein Thema zu For exanlple, a lengthy fugue theme can
romantic aesthetic, is Forkel 's description of this device as an "individu- eim,r Fuge. das etwas lang wlire. zerglie- be subdivided in such fashion by first
alization of general sentiments." Not only a fugal subject bm even a dem wotlte. dap man zuerst einen Satz, treating only one phrase or measure aJld
simple chord can be considered a general musical expression. lbi s is lent oder Takt. und alsdann auch das iibrige thereafter similarly treating and subdivid-
gleichsam zertheilet. ausfilhrte, und folg- ing the remaining theme. Consequently,
beauty and vitality through the process of individualization, for "the lich all Theile des Hauptsatzes, als beson- all parts of the principal theme are con-
individualization [of general expressions] is nothing but a form of dere Satze betrachtele, und durch eine sidered individually, separated from each
dislributio." He also indicates that the distributio can make use of verschiedene Ausfiihnmg von einander olher through their differentiated treat-
absooderte .. .. Man kann einen Haupt. men!. . .. The principal theme of a con-
various other musical devices or figures, including synonymous expres- salz eines Concerts. oder einer Arie, auf certo or aria can also be subdivided in
sions, various descriptions, and exchanges. I diese Art zergliedem . und da in diesen this manner. Because in such pieces the
StUcken der Hauptsatz ohnediep aus ge- principal theme already contains certain
wissen Abtheil ungen besteht: 50 thut die subsections, its subdivision is extraordi-
Susenbrotus (Epitome p.96)
The diSfributio or merismas occurs when ZergJ iedenmg derselben dabey vortreif. narily effective, especially if the phrases
Distriblltio llptaIlO~ , Est cum genus vel
we completely or paniatly extend the ge- Hehe Wirkung. vo mehmlich. wenn man are differentiated through a change in
totum vel subiectum, per enumerationem
IIUS through an en umeration of the spe-
die Satze durch die Verlinderung der voice in such a manner that the listener
specierum, partium sive accidentium
cies , the parts, or the sections.
Stimme unterscheidet. also, dap der Zu- particularly perceives now this phrase,
dilatamus.
hiker bald diesen. baldjenen Satz beson- now that one. In vocal music the text can
ders vemehmeu kan n. Auch in Singe- also be subdivided very effectively, there-
Gonsched (RedekulIsl p.282)
Dislriblllio. When a multifarious thought sachen lassen sich die Worte sehr gut zer- by clarifying an aria and explaining its
Distributio. Wenn man was vielfache5 in
is subdivided into its parts in order \0 gJiedem. Man kann dadurch eine Arie content, as it were.
seine Theile zerg\iedert, urn seinem ~er
provide the reader with a thorough under- deutlicher machen. und ihren Inhatt
einen ausfUhrlichen Begriff von der
gleichsalll erklaren.
Sache Zll geben. standing of the argument.
F~kel (Geschichlc der Musik p.5l )
~e Zergliedcrungen eines Hauptsatzes The subdivisions (distributioj ofa princi,
l. In using the lenn Verse/zullg. it is unlikely thai Forkel is referring to Janovka's dletlen dazu. ihn von allen seinen pal theme serve to examine the musical
technical understanding of hyperbalOlI. In his discussion of the Fig uren for den vetschiedenen Selten und Gesichtspunk- material from all sides. They are primar-
Versfand, which he equates with rhetorical-grammatical fi gures and musical. 1000;eu zeigen. Man bedimt sicb derselben ily used when Ihe principallheme is too
cootrapwltal intricacies, he makes various disparaging remarks on the ineffectiveness of hauptslichlich drulll. wenn der Hauptsatz long or diverse to be grasped and appreci-
such "musical inversions" (Allgemeille Geschichle der Mllsik. 54, n.29). Scheibe zu &roP oder vielseitig ist, urn auf einmal ated all at once. A composition'S inten.
translates hyperbotoo with " Versetzung" but lends it a much more general and affcctive &anz tibersehen un d begriffen werden zu tion is to express either an individual or
defmition. Forkel undoubtedly was thinking of Scheibe's hyperba/oll in bis discussion konnen . Die Absicht eines Tonstiicks a general sentiment. In both cases the
of the contrapuntal devices, as Scheibe also related his h}perbu/oll to fugal technique. hn n seyn: eine individuelle, oder eine relationships aJld circumstances are so
See Hyperba/oll. altgemeine Empfindung zu schildem. In diverse thai the sentiments cannot be suf-
242 dubitatio d llbilalio 243

beyden F!illen sind deT Be'riehWlgm und ficiently clarified without dissolving affection and figure directly correspond . Both the musical-rhetorical
Verhilitnisse so viele, dap die Empfin- them into their separate parts. Such a dis-
dung ohnt Auflosung in ihrc einzelne solution employs devi ces similar to lin-
df."\'ice and its intended affection share tenninology and content. While
Theile niehl deutlich genug werden kann. guistic ones: for example, in music We this rhetorical fi gure has been recognized since antiquity, it is only
Man bedim! sich zu dieser Aufl6sung also have synonymous expressions, di- mentioned in musical treatises toward the end of the Baroque era. With
eben so wit in def Sprache, mehrerley vem: fonns of paraphrase, repl acements
Minel; WiT haben z.B. auch in deT Musik
tht' growing eighteenth-century emphasis on natural affective expression
[hJ.perbaton]. and so on. Even an individ_
synonymische Ausdrucke, Umschreibun- ualization of generat sentiments call be and the associated psychological examination ofmusic's expressiveness,
gen vcnchiedener Arten, Versetzungen musically expressed, ... the element of doubt could be introduced into musical composition.
u.s.r. ja sogar cine Individuaiisinmg
allgemeiner Empfindungen Hipt sich in
Expressions ofWlcertainty or ambiguity, even though they be deliberate,
den musikalischen Ausdrllcken den ken. would not ha\'e been acceptable to the seventeenth-century musicus
... Foigender vierstinunige AC(;ord kann The following chord might be such a gen- pOi?l iells. In fact. the dubitatio would have been considered quite wmatu-
ein solcher allgemeiner Ausdruck seyn: eral expression:
ral. fo r "nature abhors the infinite."1 However. with an increased call for
composers to express their 0\'i1l feelings, which Forkel fonnulates as an
""indi vidualization of general sentiments.,,2 thc expression of uncertainty
beco mes quite acceptable.
und jedes geilbte Ohr empfindet zwar and every practiced ear perceives its
seine Bedeutung eben so gut, als der meaning just as well as anyone who un Quinti Iian (1lIslilwin IX. ii. 19)
Kenner einer Sprache abstrakte Aus- derstands a language also understands its l\dferl aliquam fidem verilatis et dubi The dlibiratiQ can lend an expression a
dliicke versteht; al1ein Lebhaftigkeit und abstract expressions. However, the ex- tntio. ('IIIl} sinmlamus quaerere nos, unde sense of truthfulness. and occurs when
Schonheit des Ausdrucks gewinnt unge- pression is given exceptional vitality and il1cipiendulIl. ubi desinendum. quid potis- we pretend to question where to begin or
mein, wenn diese auch bisweilen aufge- beauty only if the general expressions are simul11 dicendum. an onmino dicendum end. what is most important to say, or
loset und individualisirt werden. und fol- also periodically dissolved and indi vidu sit. what should be left unsaid.
gende bldividualisirung obiger Accorde: alized. such as the following individual
ization of the above chords: Snsenbrotus (EpilOme p .67)
Dubitatio Graece O:7tOp(l'. , est cum per- The dubitalio, which the Greeks call
plexi anllmquc dub ii haesitamus, aporia, occurs when we hesitate out of
quidnam potissimum inter duo plurave doubt or confusion. es pecially when
decendum sit aut faciendum. choosing or differentiating between two
or more th oughts.

Gottsched (Diehl/WlIsl p.3 17)

ist daher unstreitig weit lebhafter als der which is unquestionably far livelier than Die andre Figur is t der Zweifel. (Dubi- The next figure is doubt or dubi/atio,
allgemeine Ausdruck. Man sieht iibri- the general expression. Moroover, it be- tatio ) lIlomit man en tweder bey sich an- through which one either questions
gens. da!! diese Individualisirung nicllts comes apparent thai this individualization steht, ob eins oder das andre zu glauben. whether one thing or another is to be be-
als tine Art der Zergliederung ist. is nothing but a fonn of subdivision. oder ZIl thun sey; oder sich doch so stel- lieved or done, or at least pretends to be
let. als ob man sich nicht entschlie!!en undecided .. .. At other times one is not
konntc .... Zl1weilen zweifelt man zwar in doubt oneself but wishes to move the
seIber nichl; will abet dutch einen ve r listener to reflection through an apparent
DUBlTA TIO: an intentionally ambiguous rhythmic or harmonic pro- ste!Jten ZI'eifel die Zuh6rer ZUlli Nach doubt.
gressIOn. sinncn bewegen,

A musical "doubting" can be caused by ambivalence or unclarity in I , "'Natura ab infinitis abhorrer." Werckmeister. Musicae mathemalicae, 13. See
either hannony or rhythm. This seems to be the only example in which p.21, n.I S. above,
2, Sec Disrnhlliio.
244 dllbilalio ellipSis 245

Scheibe (Cr;li.Tc her MzuicIIS p.686) WO\'on uns C. Ph. Em. Bach im musika- provided a fine example in his Mllsi-
Die lIte Figur is! def Zweifel. (Dubit~tio .) The next figure is doubt or dubitalio . It lischen Allerley S.43 . unter der Ueber- kalisches ,.werley (p.43 ) under the title
Sie bemerket eine ungewipheit. sich zu indicates an Imcenainty or indecision and schrirt: ]"irresoill l!, ein schOnes Beyspiel / 'irresolue. Here the expression of this
entschliepen. und isl in deT Musik von is panicularly important in music, for it gegeben hat. Hier ist der Ausdruck dieser figure is achieved through a prolongation
besonderer Wichtigkeil. weil sie fast in is fOIUld in almost all genres of complete FiguT dUTCh Verl lingerung des Rhythmus of the rhythm.
allen Ganungen vollstiindiger StUcke Sla ti compositions. Should the combination LJew~rk stell igr.
fiodel. Wenn die Verbindung und def and correlation between the mel ody and
ZusamOlenh ang der Melodie und def hannony result in the listeners' uncer_
Harmonie die Zuhorer g1eichsam UII- tainty regarding the music's progression
gewip machen. welchen Fongang sie and ultimate conclusion. it is an indica_ E CPJ-IONESIS: see EXCUMATIO
oehmen. WI d in we\chen Ton sie zuletzt tion of the composer's adept expression
fallen werden: so iSI solches ein Merk- of the dllbila/ia . ... However. the dllbi.
maal, dap def Componist den Zweifel Ia/io must not confuse the com poser' s ELLl Psrs. SYNECDOCHE: (I) an omission of an expected conso-
geschickt auszlldrilcken gewupt hat . . . . own arrangement or the proper coherence nance: (2) an abrupt interruption in the music.
Der Zweifel mup dem Componisten nith! of his music. thereby creating do ubt in
die Ordnung seiner Gedanken, oder den his own mind: ralher he must only nlean-
wohleingerichteten Zusammenhang sei- ingfully lead the listeners astray so thaI. The ellipsis undergoes a semantic change in both rhetoric and music.
ner Satze verwirren, und ihn also selhsi becoming un certain regard ing th e order Qu inti lian refers to the omission of an expression which is nonetheless
zweifelhaft machen; eT mup nur di e Zu- of the music or the notes. they cannot
easily guess his intent.
understood in context as a synecdoche, Should the omitted expression
Mrer auf ci ne sin nre iche Art verfiihren.
dami! sic in der Folge der Sli!ze, oder der rem ain unintelligible, it is regarded as an error (vitia), which he terms
Tone ungewill werden, und seine Mey- ellipsis. Whereas the term ellipsis simply means "leave away, omission,"
nung nicht leicht errathen kOnnen. synecdoche means "with sequence (consequence), intimation, sugges-
FOfkel (Geschichle der Mllsit p.58) tion." Quintilian uses the two terms to differentiate between an unintelli-
Die Dubitlltion (Zweifel) zeigt eine The clubilalin (doubt) indicates an (lIlcer- gi ble omission and the omission of an expression which, however, can
Ungewip heil in der Empfindung an . Sie tain sent iment. It is musically expre~sed
be disc erned through suggestion or intimation in the context of the
wird in def Musik auf zweyerl ey Art in two forms : (1) through an indecisive
ausgedrUckt : I ) dutch eine zweifelhafte modulation. for example: oration.
Modulation, z.B . Susenbrotus also uses the two terms but considers both of them to
be fi gures. I Whereas his eclipsis refers to the omission of an expression
which is understood in context, he defines synecdoche as a figure in
which "one thing is understood through another by whatever means."
Thus he calls Quintilian's synecdoche an eclipsis, while describing
synecdoche as a figure which implies a content beyond the literal mean-
ing of the words. lbis he clarifies through numerous examples supplied
2) durch einen Stillstand auf einer ge- or (2) through a lingering on a certain in hi s de fi nition.
wissen Stelle eines Satzes, z.B . point in the music. fo r example:
With Gottsched ellipsis asswnes a different nuance in meaning. The
emphasis is not on the figure 's reference to an unspoken yet generally
understood content but rather on the omission or suppression of the
re ferences . He translates the Greek ternl with Verbei{3en , Abbrechen

Auch der Ausdruck der Unentschlossen- The expression ofindedsion must also be
heit mup hierher gerechnet werden. included here. of which C. P. E . Bach 1. The terms ellipsis and eelipsis can be used interchangeably.
246 ellipsis ellipsis 247

(suppression, breaking ofl), resulting in a definition closely related to apos iope.~i.~ .

The rhetorical aposiopesis is associated with an omission
that of the aposiopesis.ln fact, Gottsched explicitly links the two figures or intemlption, as is the ellipsis, making their corre lati on a natural one.
.
mentioning that the apos iopesis can be considered a fonn of ellipsis.'
' "Ole musica l aposiopesis customarily refers to a si lence or general pause,
The first musical reference to the ellipsis is already encountered in \\ hich might foll ow an interruption but is not considered identical to it.
the sixteenth century, when Eucharius Hoffmann uses the tenn to de- Thi s specific musical differentiati on leads to those figures of silence
scribe a transgression of the nonnal ambitus of a mode.! Bernhard is the which signify a break in the music, such as abruptio or tmesis, and those
first author to include the ellipsis in a Figurenlehre. Bernhard and \\hich i.ndicate a silence. including aposiopesis. pausa, and silspiralio.
Walther defme the tenn in a manner analogous to Susenbrotus's under- Srheibc and Forkel describe the ellipsis as such a break, after which the
standing of the figure: it is an omission (of a consonance) which is music subsequently continues in an Wlfeialed or unexpected manner,
nonetheless understood in the context of the composition. In Bernhard 's tht'reby incorporating interruption. silence, and continuation in the one
first example (Tractatus) the syncopated d l in the melody (b.2) is not figure .
resolved but remains at the fourth above the bass note. However, through
Quintilian (If/Sfi/ufio V1U.vi.21)
the dominant function of the bass, the listener understands a C-sharp,
QuiJam synecdochen vacant et cum id in Some use the term fynecdoche when
even though it is not sounded. 'This form of the ellipsis is explicitly contextu sermonis quod tacetur acci pi- something is suppressed but nonetheless
explained both in Bernhard's Bericht and in Walther'sPraecepta. Vogrs mus: ve rbum enim ex verbis intelligi. assumed in the context of the speech. A
quod inter vitia ellipsis vocatur. word might he understood through an
antistaechon signifies a similar musical device. However, while ellipsis
other word, which is called an ellipsis
refers to the suppression of a consonance, antistaechon denotes the when it leads to a fault in the oration.
substitution of a dissonance for an expected consonance. In the other ex-
Qllintilian (l11~liflitio
IX.iii.!iS)
ample, the expected consonance,jl, is replaced with a rest, the foll owing
OUVE KOoXf) . cum subtradum verbum The s)71ecdoche occurs when the omitted
e l forming the dissonant tritone with the bass. The e l is understood as a!iquod sati ~ ex ceteris intelligitur. word is clearly Wlderstood out of the con-
a passing-note (transitus) fromj t to d l , with the jl being replaced by lellO! of the other words.
a rest but nonetheless understood in the context.) In his Tractatus Bern-
SusenbrotllS ( Epitome p.26)
hard lists the ellipsis as a figure used in the modem stylus theatralis or Echpsis. id est dictionis sive oraliw1(:ulae The ec/jpsis signifies an omiSSIon of
recitativus. The "suppressed" d ' would therefore be heard in the realized ~d legi!imam oonstructionem neccssariae words or pans of speech which the cor-
basso continuo part. in St'f[SII defectus. In hac d ictio vel clau. rect construction requires. In this figure
sula. aut consue!udine aUlorum, id est. the omined word or clause is ascertained
As a consequence of adopting Gottsched's Figurenlehre as his
eruditorum consensu, suhaudiri solet. aut either through the established usage of
model, Scheibe supplies the ellipsis with a definition much closer to its ex caeteris \ erbis in orationis clausula paS! authors. that is, through the consen
affective, rhetorical-rather than its traditional musical-understanding. expressis. cena est Mancinetlus: Dicitur sus of the learned ones' usages, or
unius verbi de f;tus Eclipsis. through the other words in thai clause of
Unlike Gottsched, however, Scheibe does not link the ellipsis with the
the oration. According to Mancinel1us,
the omission of a word is called an ec-
lips!:;.
1. See A,JOsiopesis.
SusenbrolUs (Epilome p.S)
2. E. Hoffmann, Practica modorum explicatia ( 1582); cited in Ruhnke, Burmeister.
S:>llecdoche lnteltectio, est quoties aliud The :;)'lIecdoche or ;rrtellectio occurs
137. This musical device is termed hJperbo/e and hypobo/e by Burmeister, licenlia by
ex alio quocwl que modo in telJigitur. Vel when one thing is Wlderstood in one way
Herbst, and modus SUpetjlUIIS (a form of mmalio 10m) by Bernhard. See Hyperbole.
cum ex llllO plum inleltiglmtur: III. Roma- or another through something else: when
3. It is this explanation of the dissonance following the rest in Monteverdi 's Cruda
nus praelio victor. pro Romani vie!ores. the plural is understood out ofthe singu.
Amarifli (b.13 ) wh ich is put forward by Signor Luca in Anusi '5 L 'Artusi, ovvero. Delle
Vel ex pane tOl llln: ut mucro pro gJadio. Jar. as in Roman victor instead of Roman
;mper!c;OI1; della moderna musico (Stnmk. Source Readings, 393), v.'here the dissonant
tecum pro domo, Retroque: ut ingens "ictors: when the whole is underslood out
a 1 is described as th e upper neighbor to the "suppressed " yet understood g 1.
248 ellipsis ellips;y 249

avertice pontus, id est . procella et unda of lhe part, as in blade instead ofsword erfordert wird. sonance of a lransitus.
ponti: et fontemque ignemque fercbant. or roof instead of house; or conversely, as
SoIte also stehen:
id est, partem fontanae aquae. Vel ex spe- in a huge sea instead of slonn and waves
cies genu! ... Vel cum ex materia Tes ... ; when the genru is understood out of
confecta signific8tur ... Vel ex prae<:e- th e species. the product OUI of the raw
dentibus sequeotia.. .. Breviter quoties material, the following out of the preced_
aliud ex alia intelligitur, ing. in short, when an ything is llllder_
stood out of something else.
~
Gottsched (Rede/wns/ p.27S)
Ellipsis. Die etwas ausHi!}t, so sich abeT
leicht verstehen l!ipt
The ellipsi.f omits something which
nonetheless easily understood.
IS Bernhard (Bendll p.151)
Ellipsis heipel /\up lapung lind ist eine
""
Ellipsis means omission and signifies a
Vcrsehweigung ciner Consonans. Und suppression of a consonance. It occurs in
Gottsched (Dichikunsl p.319) geschichel alltf zweyedey Weise I) wenn two ways: when a pausa replaces a con-
Die IV. ist das Verbei!}en, (Ellipsis) oder The next figure is the suppression or el- an smd der COllson anz d ne pausa stehe! sonance and is followed by a dissonance:
Abbrechen einer Redensatt. die man nur lipsis , consisting of breaking off a man- und darauf einc Dissonanz folget.
anhebt, abeT nicht vOllig endiget. Sic enl- ner of speech which one only begins but

~
stehl. wenn der Affet:1 so heftig is!. dall does 1I0t completely fin ish . It occurs
der Mund und die Zunge den geschwin- when the affection is so vehement that E .
den Gedanken der Seele nicht folgen the mouth and tongue cannot keep up
solte slehen.
kann, und also mitten in einem Satze with the rapid thoughts of the soul, there-

~
abbrechen. und dem neuen Gedanken des fore breaking off in the middle of a sen-
Geisles pllSlzHch folgen mup. tence and suddenly continuing with the
new thought.
""
Vnd wenn in einer Cadenz die Quarta
'" "'"
or when in a cadence the fourth is not
Bernhard (Tractatus p.84) durch die Tertia nitht re50lviret wird, resolved by the third but rather remains
Ellipsis isl cine Auslapung der sons! The ellipsis is an omission of an other- sondem stehen bleibe!. Al/}: stationary, as follows:
erforderten Consonantz. Und rOOTet ent- wise requ ired consonance. arisi ng from
-
~
weder her BUS Verllndenmg der S)'lloopa- an altered syncopario or transitllS. An
tion oder des Transitus. Ellipsis so aus ellipsis arising out of a syncopotio com- ~
der Syncopation herrilhret, ist gar ge- monly occurs in cadences where a fourth
brauchlich wo die Quarta durch die
draufffolgende Tertie in denen Cadenliis
should resolve to a third, but instead the
third is either omitted altogether, or an-
~
"
solte resolviret werden, und 1) entweder
die Tertie gar ausge1a~en, oder 2) an
deren Stelle eine andere Consonantz
other consonance takes its place.

Walther (I'raecepra p.154)

""
genommen wird. Ellipsis, 1st eine Auslapullg oder The ellipsis is an omission or suppression
..... SolIe also stehen: Verschweigullg einer Consonanz welches of a consonance which occurs (1 ) when
s:
~~
geschicht I) welln an stan der Consonanz a poWia rep laces a consonance and is fol-
.~ .
Si V !== ,Ii eine Pause stehel. und auf diese ci ne
Disso nanz folget 2) Wenn in einer Ca-
lowed by a dissonance; (2) when in a ca-
dence the fourth is not resolved by the
I den]. die -Ita durc\l die 3tia nieht resol- third but rather remains stationary.
viret wi rd. sundem unbeweglieh liegen
~ bJeibel.

Ellipsis aus dem Transitu henilhrend ist An ellipsis arising out of a (ram i/us is the Walther (I,exICun)
eine Verschweigung der Consonantz so suppression of a consonan ce which is ~lJipsis [lat.] i).A ElI.IH<:; [gr.1 von The ellipsis, from eUeipo or praelemrillo,
in Transitu fUr der Dissonantz sonst nonnally required before the passing dis- tA).e(TCW. pzaetemlitto. defido; ist eine deficio, is an omission or suppression of
250 ellipsis emphasis 251

Auslftssung oder Verschweigung tiner a consonance and occurs when a pause is anflingt. und weiter fongeh!. Von dieser
Consonanz. und ent5tehet, wenn an stall substituted for a consonance which is Art is! folgend e Ellipsis in eineT Bach-
dieser doe Paust gesetzt wird, worauf followed by a dissonance. ischen Sonate'
tine Dissonam: folge\.

Scheibe (Crj/ischer Musicus p.687)

Die IlIlt iSI das VerbciPen. (Ellipsis.) The next figure is the suppression or el-
oder das Abbrechen tines Satzes, den lipsis, or the breaking off of a passage
man nUT anhebel, abeT nichl v611ig eo which one only begins but does noc com-
diget. Sit geschieht auf zwcyerley An. pletely finish. It occuJ's in two forms.
Ersllich, wenn man in dem heftigstm First, one can suddenly break off and re-
Affecte und mitlen in e;nem angefan- main silent in the midd le of a passage in
gcuen Salze unvennulhet abbricht und a vehemenl affection. Or one can alter the 2) Wenn ein ebenfal1s nach un d nach Second. it ocx;urs ""'hen a likewise gradu-
stille hih, endlich aber mit einem ganz expected ending notes of a passage and sehr lebhaft gewordener Sail'. bis l'. U einer ally intensifying passage progresses to a
fremden Gedanken aufs ncue wieder an proceed to a completely foreign and un- Ar1 VOI1 Cadenz fongeflihn wird. anstatt foml of cadence but. instead of proceed-
hebt. Oder auch, wenn man am Schlusse expected chord. This second method aber diejenige Cadenl'. l'.Il machen, die ing to the expected cadence based on the
tines Salus den gew6hnlichen Schlup- composers call evading the cadence. The 5ich aus der \'orhergehendcn Modulation preceding hamlOnies. proceeds 10 a so
ton verl!ndert. und in einen ganz fremden more vehement the affection, the more hane erwar1en lassen. in ein e sogenannte called evaded cadence. and thereby
lmd unerwarteten Accord nUll. Dieses foreign the chord must be which alters ausfliehende Cadenl'. flil lt. und dadurch breaks the thread of the modulations, as
letztere nennen die Componislm : das the expected cadence. The first fonn of den Faden def Modulation abreipt, z.B. in the following example:
Ausfliehen def Cildenz. Je hefiiger abeT this figure is the more congenial one and,
der Affect isl. oder seyn 0011, desto frem- because of the abrupt silence and inter-
def mull auch der Accord seyn. in den ruption of the emire passage, require s
man die gewtlhnliche Cadenz ver!lnden. great facility , imagination, and power
Die mle Art dieser Figur isl die schOn- both in the melody as well as in th e har-
Sle, und erforden wegen des Abbrechens, mony.
und weil man zugleich dem ganz.en Satze
Einhall thun mull, viel Geschicklichk eil,
Feuer und SUlrke so wold in der Melodie,
als Harmonie.

Forltel (Gesch/chle de,. Musik p.56) Je hefi iger aber die Empfindung ist, The more intense the sentiment which is
Eine auffaJlende Art von Aeu~erung A nocable fonn of expressing a sentiment deren Lauf sc hleunig unl erbrochen wer- to be abrupt ly interrupted, Ihe more for-
ciner EmpfioolUlg is! die, wenn sie, nach- occurs when its exprenion is suddenly dell 5011. deslo fremd er lind entfemter eign and remoce must also be the cadence
dem sie nach und nach zu einem hohen suspended and broken off after a gradual mup auch die Cadertz seyn. in welche die which replaces the expected one.
Grad von Stlrke angewachsen, auf ein- and successively intensifying growth. gewi:ihnliche verlinuen wi rd.
mal pl/;)tzlich stille stehl, und abbrich l. This figure is called dfipsis. The art ex-
Diese Figur wird Ellipsis genannl. Die pressed by thi s device must seek to illu-
KWlst, die diese Art von Aeu~erung aus- minate the path of the affections for the
drilcken wilL mu~ sie daher so in ein imagination, as it were. This can be EMPHA SIS: a musical passage which heightens or emphasizes the
Bild zu bringen suchen, da~ dadurch der achieved by two methods: first, when a meaning of the text through various means.
Gang der Leidenschaft fur die Ein- gradually intensifying passage which has
bildungskraft gJeichsam sichtbar werden grown to great vehemence is unexpect-
kann. Sie kann es auf zweyerley Art edly interrupted, only to resume anew The rhetorical emphasis is similar 10 the ellipsis or synecdoche. I In both
bewerkstelligen. nemlich 1) wenn ein and proceed with an entirely altered
nach und nach loU einer gropen Lebhaf- thought. This fonn of ellipsis is found in
tigkeit angewachsener Satz unvennuthet the following Bach sonata:
abbricht, sodann aber mil ei nem ganz I . Scaliger (Poelice_~ /ihn' seplem, Heidelberg 158 I) even lists the emphasis Wlder
verlindenen Gedanken aufs neue wieder eclipsi:.-, Sonnino. Hm,dbook, 200.
252 253

cases the oration wishes to convey more signifi cance than is literally pointing out the intended affection. illuminating the sense and mean ing
expressed. While the ellipsis signifies a certain omi ssion. the empllas is of the work." Mattheson wishes to clearly distinguish between the
highlights an additional yet unspoken connotation of the text. accen fllS and the emphasis, which suggests that the two devices were
The emphasis enters musical treati ses as a figure relatively late . This conunon1y not only assoc iated but equated. Rather than emphasizing the
can be explained by the fact that the discipline of mus ica poelica in content o f the entire text, the accentus focuses on the accentuation of
general might be understood as a fonn of emphillis: it is the role o f music specific words. Through clarifYing and interpreting the text, the musical
to heighten or explain the meaning of the text above and beyond the emphasis points beyond the text itself. adding a significance which the
literal meaning of the words. Music is to add the additional emphasis words on their O\\TI cannot provide. Herein lies both the commonality
which the text on its own cannot provide. Early Baroque authors of between the rhetorical and the musical figure, as well as the essence of
musical treati ses would find it redundant to include this figure . On the a mus ica poe/iea .
other hand, those writers who sought to mirror a rhetorical Figurenfehre
in their musical treati ses either omit the figure (Scheibe) or supply the Quinlilian (/lI lllllIlio VIII.ii i.83)
Vicina praed ict~ e sed mJlplior vi n us est A similar but more oUlstanding virtue
tenn with a definition not entirely based on the rhetorical fi gure (Mat
i~<Pa (J I/; . altiorc:m pra ebens intellectum [than brachologyJ is emphasis , thrOUgh
theson), quam quem verba per se ipsa declarant. which a deeper understanding is revealed
Vogt is the first musician to include the tenn in a list of musical EiILs dual' sunt species. altera, quae plus than is actually expressed by the words.
significal quam di cit, altc:ra, quae c:tiam It is of two kinds: either more is meant
figures , His comment that the figure can be executed by the singer
id quod non dicit. than is said, or something is meant which
without it being written into the composition suggests that Vogt may is not said al all.
have had an accentlls or similar ornament in mind. Although he mentions
the accentllS under his ornamental figurae simplices. vogt may have Quintilian (JIIJlilUlio !X.ii,64)
Est emphasis etiam inter figuras. cum ex The emphasis is considered a figure when
wanted to highlight the figure ' s textexpressive potential. He there fore aliquo dicto lalms aliquid eruitur. a hidden meaning is revealed through
includes it in his li st of musicalrhetorical figurae ideales, supplying it some other expression.
with an appropriate rhetorical tenn which reflects its function: to high-
SusenbrolUs (Epitome p.47)
light and emphasize the text. I Spiess also limits the figure to an emphasis Emphasis [ )I <Paol/;. e~t cum altior 5Ubc:st TIle emphasis occurs .....hen an expression
of particular words. Although he advises the composer to carefully set intellc:ctus ac maior significantia. quam is given a deeper understanding and
the words to be emphasized and the singer to execute them equally verba per seipsa declarant. Haec plu. greater significance than the words them-
rimum adfert iucunditatis orationi. selves express. This figure is frequently
carefully, Spiess does not go into greater deta il regarding the musical nonnumqU3Jl1 ('t dignilatis acrimoniaeque employed in et1tenaining speeches. at
setting or the devices to be employed. non parum. Mancinell us: A1tior eSl sen times also in speech" of praise or vehe-
Mattheson devotes the entire eighth chapter of hi s Capellmeister sus quoties qu am quem tibi verba decla ment speeches. In the words of Manci
rant, vel quam dicis pl us significatuT. Aut nellus, the emphasis results in a deeper
(part 2), Vom Nachdruck;n der Me/odie, to the use of the emphasis . A
c:tiam quod non dicis. scito Emphasim understanding than the words themselv"
variety of devices are regarded as part of the emphasis, including the esse. express, or when more is understood than
correct stress of words and syllables, the use of appropriate ornamenta- is either said or even suppressed.
ti on, and effective repetition of both text and music. Above all , the
Vogt (Colic/are p. 151)
emphasis is to heighten the meaning of the entire text, "as though it were Emphasis. Hane figur~1ll ponit Melothc:ta, Emphasis. This figure can be either notal'
vc:l etiam sine eo iIlam canc:ns efficit. ed by the composer or extemporized by
the singc:r.
I. Vogt furthc:nnore describes the polysynthelQll, another of hisjigurae ideales , as
Mauheson (rapellmeister p.174)
a successively repeated emphasis. The understandi ng of the emphasis as an an:elllliS
Die Emphalic (Ab t l!, in; & 416.01(;, The emphasis ([footnole:] from en , in;
would be most appropriale in that definition as well. See Polys)'lIdeIOtl .
 epmw d iplo,f i.f 255
254 emphasis

apparilio. dictio: Die Lehre von den son- andphruis, manifestation: the teaching of und belcuclilCl den Sinn older Verstand
derbar hervorscheinenden WOrtem einer the exceptionally prominent words of a d~ Volrtages

Rede. Emphasis est, cum vocabulum speech. "Emphasis occurs when cenain
adhibitum singulaum habet vim &, expressions m given singular power and Spiess (TrOCllIII/I p 1 ~5)
efficaciam: so laute( die Beschrcibung efficacy." This rhetorical description can Emphasis. Nac hdruck. sondere Expres The emphasis, an exceptional expression
der Redner. welche man leitht auf den easily be appl ied to music,), which deals sion. und AusdlUckung cines Wons in of a word through the music, must be
Klang deuten kan. ). weicht vom Nach- with the enlphaSis of thoughts, music, detn Klru lgooe-r ~'I usic mup sowohl von both cleverly set by the composer as weJ1
druck det Gedancken, Klinge und Wor- and words, explaining and vividly illus- de\ll COlllponisteu gC5c heit gesetzt: als li S skillf\llly and effecti vely executed by
ter handelt, denselben erliutert und deul trating them, demMds a thorough exami- auch von dC11l Singcr geschickt und ein- the singer. It is applied to those words
Iich vor Augen Itget, erfordert cin reiffes nati on, and is primarily concerned with dri nglich in jenen Wonem angebracht containing the e;'(ceptional content, em
Nachsinnen und hal haupisichlich mit the following four observations. we rdcn. in we lc htn dcr absonderliche phasis, power, strength. force, efficacy. or
folgenden vier Betrachtungen zu thun. Enlha ll. Nachdruck. Kra ft. Macht. Vis. vigor of a passage or text.
Efficacia. Ellergia eincs Periodi oder
Erstlich erweget man die eigentliche First. the actual emphasis itself should be Rede en th al u,"n ist
Emphasin, d.i. den Ton lUtd Nachdruck considered, that is the sound and stress of
der Worter, an und fUr sich 5etbsl. ... the words. . ,. Next, the length of pro-
Zum andem k6mmt diejenigc lange oder nunciation of the syllables or the accent
kurtze Aussprache der SylDen hiebey must be considered. Third, the prus aggi
nothwendig in Erwegung. weicht man or embellishing nulS in the music are to EPANADIP LOSIS. REDUPLICATIO: a restatement of the opening of
den Accent nennd. Drinen! is! der be examined. Fou rth, the repetition not a passage or phrase at its close.
Artickel von den Passaggien. oder zier- only of the words but also of the har-
lichen Uluffen im Gesange zu untersu- moni c and melodic passages are to be
chen. Viertens beobachlet man die Wie- obsetved, particularly regarding the need The lenn ep(/Iwdiplos is does not appear in rhetorical treatises prior to
derho\ungen niehl nur der WOlter, son- for a certain accentuation in this and th e Ihe eightccnt h century . A more common figure with a synonymous lenn,
dem aucb der Klang- und Sang-Weisen. preceding cil'{;umstances. This is all pan
der GAnge. Fille und FUhrungen in der of emphasis.
the anadiplosis. signifies a restatement of the close of one sentence at
Melodie. in so fern in denselben und in the begi nning o rthe following one. rather than a common opening and
den vorigen Umstilnden ein gewisser close o f the same sentence. The Lalin ternt for thi s fi gure, redllplicatio,
Nachdruck erfordert wird. Dieses alles
is mentioned in both musical and rhetorical defin itions of anadiplosis
geh6ret zur Emphatic.
(Susenbrotlls and Wal ther). Walther also lists redllplicatio as an alternate
Ehe wir aber einjedes StUck ins besondre Before dealing with each ofthese points tenn for epalladiplosis, which he describes in accordance with Vogt's
vor uns nehmen, mu~ mit weni gen ge- in greater detail, a few words of e;'(plana-
definition. The rhetorical device which signifies a common opening and
wiesen werden, welcher Gestalt di e tion are required to point out th e differ
eigenUiche Emphasis von dent Accent zu ences between the emphasis and accentu- ending o f a sentence is known as epanafepsis. 1 It is Vogt,then, who
untencheiden sey.... Erwehnter Unter- ation.... These differences consist of the introduces the ncw tcnn with a borrowed definition into the catalog of
schied bestehet demnach vomeh mli ch in following. First, th e emphasis concerns
musical-rhetorical fi gures. Unger's explanalion that this rearrangemenl
folgenden Eigenschafften. Erst lieh flitlt an enti re word, fOCUSing not on its pro-
die Emphasis immer auf ein gan tus nunciation but rather on iu literal content "might be attri buted 10 a misspelling on Vogt's part or a misprint by the
Wort, nieht nath dem Klange desselben, or meaning. Accentuation on the other printer" is qucstionable. 2 A more probable explanalion is suggested by
sondern nach dem darin enthaltenen hand deals only with the syllables' length
Dammann: "Pseudo"Rutinian also broke with tradition when he called
Silde des Verstande!; der Accent her and stress in verbalization .... The inten-
gegen hat nur mit blossen Sylben, nehm tion of accentuation is directed only on
lich mit deren Llinge, Kl.lrtze, Erh ebung prommc1ation; the emphasis, in contrast.
oder Erniedrigung im Aussprechen zu illuminates th e sense or mean ing of the
schaffen . .. . Dritens richtet der Accent presentation as though it were pointing I . To confuse the matter even more, Walther also supplies eponolepsis with the
seine Absicht blo~ auf die Aussprache; out the intended affection. sam e defin ition as his el'wrndipJosis. The cample:tio was also understood as a figure
die Emphasis hergegen zeiget gleichsam compa rable to the ep(m adlpJnsis by some authors. See Conrple:tio. Eponolepsis.
mit Fingem auf die GemUths.-Neigung, 2. Unger. Re: relll f/lge" . 77.
256 f!panalepsi:r eponalepsis 257

the cyclical repetition-figure epanadiplosis.,,1 Although this rhetorical is Ihis latter definition which reappears most frequently in later rhetorical
reference postdates vogt's writings. it does allow for the possibi lity of sources. including Gonsched.
a common musical and rhetorical definition. Because YogI defines Sim ilarly. two defmitions also exist for the musical epana/epsis.
epanalepsis as a different form of repetition. this lenn is not available Vog t adopts Quintilian's more general fonn of repetition as the defini
to him for the designation of the cyclical figure. Having adopted the tion for his epa1lalepsis. In specifying that it be used to repeat an empha-
traditional definition of anadiplosis and Quinlilian' s repetition definition . Vogt suggests that the epana/epsis is a fonn of emphatic repetition.
S/5.
of epanalepsis, Vogt must fmd a different term for the cyclical definition Ha\ ing thus defined epana/epsis, he introduces a new term, epalladiplQ-
of epanalepsis, his choice falling on the synonymous epa"adiplos;s. sis. 10 signify the second and more specific definition of epanalepsis.
Walther then includes this choice aflenn and definition in hi s Lexicol/. By the eighteenth century, epana/epsis is generally explained with
The duplications in his dictionary are explained through hi s desire to the second definition in both rhetorical and musical treatises. While the
catalog all known terms and definitions in true temlinologicai trad ition restated opening of a passage at its close is tenned epanalepsis by Ahle
irrespective of possible ensuing contradictions. and Walther, and epanadiplosis by Vogt and Walther, this musical
device is defined as a complexio by Nucius, Thuringus, and Walther. !
VOg! (Conc/o\'e p.150)
Epanadiplosis est, cum finis est, ut ini The epalladiplruis occurs when the end- Walther's inclusion of all three tenns for the one device is explained by
tiwn; ul 5i cum cadentia indperes perio. ing is identical to the beginning: for ex his desire to terminologically catalog all known musical tenns and
dum, & cum eadem clldentia finires . ample when a musical passage begins definitions irrespective of possible ensuing duplications. Like Susen-
with a cademia and ends with the same
cadelliia. brotus, he also provides the Latin tenn for epanalepsis: resumptio.
Whether on accOWlt of the confusion surrounding the various terms
Walther (Lexicon) associated with this technique ofrepetilion or whether out of an asswnp-
Epanadiplosis, gr. t"lto: \Oo:6i "It).(,.)(J l~, Epolladip/osis or redllplic(l/io is 11 word
Redupliclltio ist eine Wort-Figur, so figure which occurs when th e opening tion that the device is a subcategory of the repetitio (anaphora), other
enlstehet, wenn in einer Sentenz das and closing words of a sentellce are the eighteenth-century authors either li st one or more of the terms without
Anfangs. und Schlu~-Wort einerley iSI, same or agree. definitions (Manheson) or simply omit them altogether (Spiess, Scheibe,
oder i1berein heisstt.
Forkel).

Quintilian (/lIstilUtia VDI.iii.50)

EPANALEPSIS : ( I) a frequent repetition of an expression; (2) a restate t(lUto;.oy io:, id est eiusdem verbi aut Tautology is a frequent repetition of a
sermonis iteratio.... lnterim mutato no- word or phrase. At times it is given the
ment of the open ing of a passage at its close. mine Ellavci}.T]lj.r t ~ dicitur, atque est et alternate name of epono/epsiJ. and as
ipsulll inler schemata. such is included among the figures {in
Epanalepsis is given two definitions, each featuring a different form of Slead ofenon].
repetition. Quintilian and Susenbrotus use the teml to spec ilY a frequent
Susenbrotus (pilO/lJ c pp.)2, 52)
repetition of an opening expression throughout the oration. The more Epanalepsis. e1lo:va).'llj.rt<; est quando The epanufepsis occurs WhCll something
specific fonn of repetition, namely the restatement of the opening words post aliquam multa, vel claritatis vel alia is frequently inserted into the oration by
ofa sentence at its close, is also called epanalepsis by Susenbrotus. It quapiam causa orationi interpositl, id repeating what was expressed in the be

. I . The rhetorical compfuio or s)'mpfoce distinguishes itself from the epana/epsis

I. Dammann, MlIsikbegriff, 142f. Dammann locat~ this source in De ;JC:I,emaribus In that the fomler signifies common beginnings and endings of a number of subsequent
/UtOJ , ed. C. Halm, in RhelOres lalilli minores (Leipzig, 1863), 48ff. sentences. while lhe Jatter signifies common beginning and ending words in one
sentence See also Comp/exio, Epanadip/osis.
 epanodO$ 259
258 epanaiepsi$

quod in principio est oollocatum, repeti- giMmg for the sake of clarity or for some EPANODOS, REGRESSIO, REDITUS : the retrograde repetition of
lur. i:r.:a"ci)''l';'~' Latinc Resumptio, other reason. The qJQnolepsis, resumplio a phrase.
superiorum repelitio. in Latin, was formerly called repelilio.

Epana\epsis truX\'ciAIlt41'<; est cum eadem The eponalepsis occun when the same The rhetorical epw/Odos (literally: retreat) can signify two fonns of
dictio et in itum et finem occupat. expression is placed at the beginning and "regressi\'c" repetition. lbrough the Latin translation of the Greek tenn,
at the end o( a sentence.
regressia or redirus (to go back, return, regress), the procedure of the
Gottsched (Redeblllsl p.280) rhetorical device is specifically described . Two kinds of rhetorical
EpanaJepsis wenn derselt)e Ausdruck, so Eponalepsis. When the same expression regression are possible: first, an orati on can return to a previously men
den Anfang zu einem Satze gemachl hat, which began a sentence also ctoses it.
tiolled thought and expand on it, as described by Quintilian and Susen
denselben auch beschlicf}et.
brotus. Second, an author might repeat an expression " in regression" or
Goltsched (Dich/kIIllSI p.324) in reverse order, as described by Gottsched.
Oder umgekehrt. dis, was am Anfange Or conversely Ito onodjplosis], that Epal1odos is mentioned in musical writings only twice, with a
eines Smes gestanden, kOmml am Ende ....llich appeam:l at the beginning of a sen-
desselben zu slehen, und wird Epana- ten ce reappears at me end, which is definition analogous to Gottsched's description of the tenn. In both cases
lepsis genann!. called epanalepsis. the definitions only refer to the setting of the lext rather than the music.
Walther explicitly mentions that the device is a word figure. However,
Ahle (Sommer-Gesprache p.17)
Setzet eT dan: singet I rUhmet und 1000 I Were he to write: sing I glorify and praise Walther includes only those rhetorical figures and their defmitions in his
ja lobel I rilhmet Wld singet; so iSI es cine I yea, praise I glorify and sing, it would Lexicol1 which are applicable to a musical selling of the text. In other
Epanalepsis und Epanodos. be an eponulepsis and eponodos. cases. rhetorical figures defmed without reference to the musical setting
Vogl (CQf.cfole p. ISI)
by Walther arc inc luded by other writers as musical figures (e.g., epi.
Epanalepsis. Repetila emphaSis. Figura EponoJep$is . A repeated emphasis. It is phara) . funhenn ore, in Ahle's general discussion of the figure s. it
conununi s est. a common figure. becomes quitc apparent that the composcr is to apply the rhetorical
Walther (LeJ(icOll)
figures contained in the text to his musical setting. The possibility of a
Epanaiepsis, gr. fl'fUvci)' "1~",". Resumlio The epanolepsjs or resumtio, rrom "regressive" repetition is panicularly well suited to musical composition.
(lat.) von r l'!avtt).a~f}civtJ. repeto; is! epona/clmbano, repelo, is a rhetorical lndeed, afllga cOllcri=mlS or contraria with its retrograde statement of
cine Rhetorische Figur, naeh welcher ein. figure through which one or more word s
which began a phrase o r passage are also
the subject seems to be the most literal realization of an epanodos.
odeT mehr Wone, so zu Anfllnge eines
Periodi u.d.g. stehen, auch am Ende des repeated at the end of the same phrase or
selben wiederhohlt werden. passage. Quintilian (lI/sllInlin IX.iii.3S)
Est et iIlud repetl'lldi gl'nU5, quod simul Another (orm of rqJetition occurs when
Manheson (Capellme;slerp.243) proposita i'era! el dl\'idi t. Emivo~ previollsly stated thoughts are rqJeated
Die Epallalepsis, Epistrophe, Anadiplo- The epana/tpsis, epistrophe, anodip/os;s, dicitur Graec(!. nomi rcgress ionem vo-- and sim ultaneously distinguished from
sis, Paronomasia, Polyptoton, Antanacla paronomosia, Pol)Plo/on , anlonac/asi.f, ,.'" each other. 1bis figure which our authors
sis, Ploce etc. haben sokhe natUrliche place, etc., assume sud! natural positions call reg,.eSS;Q is called epemodos in
Stellen in del Me1odie, dap e! fast schei in music that it alm01t seems as if the Greek.
net, als hatten die griechischen Redner Greek orators borrowed these figures
sothane Figuren aus der TonKunst ent from the art of musi cal composition. For Susenbro!Us (Efl// olne p. S6)
lehnet: denn sie sind lauter repetitiones they are purely rtpeliliones \'ocum, repe- Regressio Ellti\"ooo~. est cum semel pro- The ,.eRress;o or epunooos occurs when
yocum. Wiederhollmgen der Wt\ner, die titions of words, which are applied to mu- positum itemlur I' C diversum quiddam in the repetition of a previolLsly stated
aufvenchiedene Weise angebracht wer sic in various different ways. panibus divisis ~ign ific~lur. thought Assumes a different meaning
den. through its di vision into differelll pans.
260 epiphora epiphora 261
Gottsched ( RedeKIIIISI p.280)
Epanodos. Wenn man zwey WIrter nach Epamxi()5. When two words are subse
pisrrophe is first mentioned by Ahle, and becomes the preferred
cjnander bcsonders wiederholt; doch so, quently repeated in a particular manner. temt for the musi cal figure in the eighteenth century. Only Walther li sts
dall das Ittztc 1.UC151. und das ersle zu- namely that the last co mes first and the both epislrophe as well as epiphora as names for the figure . While
letzt k6mmt. first last.
Ahlc's and Walther's defm.itions focus on the textual application of the
Ahle (SlJnI nrer-Gesprdcnl' p.17) figure , they would assume that a figure found in the text be reflected in
Senet er dlln: singel I rilhmet Imd lobel I Were he to wrile: sing I glorify and praise the accompanying music. TIlls is specifically stressed by Mattheson, who
jalobet I rilhmet Wld singet: so iSl es cine I yea. praise I glorify and sing. it would
maintains that the epistrophe, among other figures, is rooted and familiar
Epanaltpsis und Epanodos. be an epmwlepsis and epoIIOl./os.
equally in music as in rhetoric and therefore requires no further explana-
Walther (Lexicon) tion. In contrast. Scheibe goes into considerable detail regarding the
Epanodu5. gr. t:1t6: ... o6oI;, Reditus ( lat.) The epo"odlls or redit/ls. from epl and
episrrophe's extensive musical application. The importance of this
von tn\ und cho6or;. via sunum rerens: all(xJos. Ihe returning rout e. is a WOld
is! cine Won.Figur. so enlstehet. welm figure which occurs when Ihe words of a device in eighteenth-century composition is further illustrated through
die Wolte ('iller Sentenz umgekehrt oder sentence are repealed in reverse order. as Forkers li sting of this figure.
rUckweru wiederholt werden. Z.E. Sin- in the example: sing, glorify. and praise:
get, rlIhmet und lobel; lobet, rUhmet Ulld praise, glorify, and sing. or si milar pas-
Susenbrolus (Epilonll p.54)
singet. idem ibidem. sages.
Conversio o:vnorp04ltl, est quando con- The cO/ll'ersio or anlistrophe occurs
tin enter ad untlm atq ue idem verbum when numerous subsequent passages
plura membra exeunt. ... Hanc Rutilus conclude with the same word.... Rutilus
irnljJ6pa nominavit. called this epiphora.
EPIPHORA, EPlSTROPHE : a repetition o f the conclusion of one
passage at the end of subsequent passages. Gonsched (Redekll1lst p.279)
Epiphora. WeJehe das Ende eines Ab- Epiphora, through which the ending of
saues in der Rede etliche mal wieder- one passage is repeated a number of
Both music and rhetoric define epiphora or epistrophe similarly. In holet. times (in subsequent passages] through-
addition, the tenns convers;o and antistrophe (both meaning a turn ing out the oration.
around or against, a return) are also used in rhetoric to name thi s device.
Gonsched (Dichlkllnst p .34 1)
While the temlS ep;strophe, all1;slrophe, and cOllvers;o all highlight the Zwn XXv. k6nulII die Wiederkehr (Epi- The next figure is the episfrophe, through
retwn to a previously expressed thought, epiphora (addition, extension) strophe) da man die Schlupworte des which the concluding words of one sen-
emphasizes an addition. namely of a common ending. A somewhat einen Satzes etlichemal am Ende andtter ten ce are repeated several times at the
Sitze wiederholet. end of following sentences.
similar rhetorical figure is the homoioplolon, which refers to common
word endings or final syllables rather than common final words in Mle (Sammer-Gespr6che p .17)
subsequent sentences or passages. While epiphora is a figure ofrcpeti- Setut er: singet dem Herren ! rUhmet den Wtte he to write: sing to the Lord I glo-
HeTTen ' lobel den Herren; so ist es eine rify the Lord I praise the Lord, it would
tion, homoioplolon is a grammatical figure of rhyme . Nonetheless. Epistrophe. be an tpistrophe.
Kircher chooses this grammatical tenn to define the common endings
of subsequent musical passages. 1 Walther (Lexicon)
~piphora. JnljJopo:, oder Epislrophe, The epiphora or epistrophe is a rhetorical
t1t~orpo4lit. ist eine Rhetorische Figur, figure in which one or more words are
da ein oder mehr Worte zu Ende der repeated at the end of numerous phrases,
I. Homaiop/oion had been assigned a diffeTellt definition by Nucius. who described Commatum. Colorum, u.s.f. wiederholt elaborations, or similar passages.
it as a form of the general pause, the music ending al the sa me time rather than in the Werden.
same manner. In compiling his Lexicoll. Walther illdudes homoiop/0I011 under
aprufopesis, retaining Nucius's definition. while listing this figure of repetition und er Mattheson (Cape/lmeis/er p.243)
epiphoro. See also HomoioptOian . Die Epanal epsis. Epistrophe, Anadiplo- The epanalepsis. epistrophe. anotiiplruis,
262 epiphora
epi::elLTis 263

sis. Paronomasia, PO]yptolon, Anlana- paronamasia , po/yptoton, an/anaclasis. wiedcrkehren lark Sie iSI eine Art der a fonn oflhe repelilia with the following
p/oce, etc.. asswne such natural positions Wiederholung. nur Illi! dem Unterschied. difference: whi le the repetilio concerns
clasis, Ploce etc. haben salche natilrliche
in music that it almost seems as if the dap die eigentliche Wiederholung ganze itse!fwith enti re passages. the epistrophe
Stellcll in det Melodic. dap es fast schd-
Greek orators borrowed these figure s Slilze. diese aber nur den Schlup eines is onl y concerned with the ending of a
nel. als hatten die griechischen Redner
from the art of musical composition. For Salzes angeht. passage.
sothane Figuren aus deT Ton-Kwlsl en!-
lelmet; denn sic sind lauter repelitiones they are purely repeliliOfJes ~'ocum , repe.
yocum, Wiedenlolungen der Waner, die titions of words. which are applied 10 mu.
auf verschiedene Weise angebracht wer- sic in various different ways.
den. EPIZEUXIS: an immediate and emphatic repetition of a word, note,
motif. or phrase.
Scheibe (C/'ifischer Musit;us p.696)
Die XIle Figur ist die Wiederkehr. (Epi- The next figure is the epistrophe. This
strophe.) Diese besteht darinnen, wenn occurs when the ending of one melodic lbi s figure of repetition, which rhetoricians also call subiectio (Susen~
man die Schlupmelodie des mIen Satzes passage is repeated at the end of other brotus). slIbjllllCfio, or adiecfio,1 is given the same definition in both
am Ende anderer Satze wiederhold. Ieh passages. i wish to clarity this. In concer
tos the ending passage of the first solo
musical and rhetorical disciplines. Walther translates the Greek tenn
will dieses deutlicher machen. Man pfle-
gel sehr oft in Concerten den Satt. mit entry is frequently repealed in the tonic literally with the Latin adjunctio. This tenn however signifies a gram-
welchem die Concertstimme den crslen key in the solo voice at the conclusion of matica l figure which occurs when a single verb is used in connection
Schlup machel, am Ende, da sic in den the movement. This restatement can also
with more than one sentence. 2 Walther's definition has nothing in com~
Schlup ton schliept, in der Concertslinnne be encowltered in the middle of the con
wieder anzubringen. Dieses pflegt man certo, and can occur either in sonatas mon, however, with the rhetorical adjunctio but rather cites Able 's
auch in deT Mitten des Concerts zu thun. with two voices or in concertos with one description and examples of the epizeuxis.
Und dieses gescbieht Ruch in Sonaten voice, such as piano concertos. In qui te As evidenced in numerous other AhlelWalther definitions, both
von zwo Slimmen, wie auch in Concerten forceful arias accompanied by instru,
von einer Stimme, als in Clavier- ments the final section of the first ritor authors describe the figure in rhetorical tenns with the understanding that
concenen. Auch in ordentlichen starken nello can also be repeated in the middle they be employed musically. This is emphasized at the conclusion of
Arien mil Instrumellten wiederholet man or at the end. Furthennore, the figure is
Ahle' s discussion of the figures. where he stales that the epizeuxis is "the
in der Mitten, und am Ende derselben also employed in recitatives accompanied
den Schlupsatz des ersten Rittomel1s. with instruments which include short most common figure, since it is used by composers in virtually all pas~
Man machet femer Recitative, die mit choral interjections aU sung in similar sages." The widespread application of the figure is also underscored by
Instrumenten begleitet werden. und in manner. However, this figure must not be Mattheson. who asked rhetorically: "What is more common, for exam~
welche man bey verschiedenen Ab- confused with the repetitio . .. . [The
theilungen kuru Chore einrUcket, die epistrophe] refers only to the repetition of pic. than the musi cal epizeuxis?" Based on these comments, the figure
aber al1emal auf eineriey An gesungen the ending of a secondary passage whi ch is as common in instnunental music as in vocal compositions.
werden. Man mup aber wese Figur nicht is connected to the principal theme and Although a systematic application of the rhetorical concept offigures
mit der Wiederholung verwechseln ... . which is repeated only at a specific tim e
[Die epistrophe] bezieht sich nur auf den according to the particular order of the to the musical art of composition remains a Gennan phenomenon, hints
Schlup eines gewissen Nebensatzes, der principal theme. Similarly, it frequently of a simi lar approach can periodically be fOlUld in other traditions. In
an den Hauptsatz angeschlossen, und nur occurs in a short yet complete passage England . "almost without exception, references linking rhetorical ele~
zu einer gewissen Zeit, und nach einer which is repealed in like manner.
bestimmten Ordnung wiederholet wird,
ments to music appear not in music treatises, but in various non-musical
imgleichen auch sehr oft auf einen kur- sources.") Henry Peacham the Elder compares the rhetorical epizellxis
zen, doch vol1stiindigen Satz, der auf sol- to the musical quaver or shake, stressing their common "function and
che An wiederholel wird.

Forkel (Ge.schichte del' Musix. p.57)

Die Epistrophe (Wiederkehr) besteht dar- The epistrQphe (return) consists of a re- I. Sonnino. Handbook, 174 .
in, claP man den SchluP des ersten Satzes turn of the conclusion of the first melodic 2. Ibid., 22.
einer Melodic am Ende anderer Slitze passage at the end of other passages. It is 3. Butler. '"!'.lusic and Rhetoric," 53.
264 epizeuxu uclamatio 265

effect when reiterated repeatedly without a break- namely that of a Epizell'cis die gebreuchlichste Figur: sin- too is the epiuwcis the most conunon
vehement and powerful stress on that particular unit with its attendant temahl sie von den Komponislen schier figure. since it is used by composers in
in allen conunalibus angewendet wird. virtually all passages.
powerful impact on the listener.,,1
Wa lther (Lexicon)
Susenbfotus (EpITome p.53) Epizeuxis. gr. bf'e l(tt;, Adjunctio. von The epi:ewcis or adjJlnctio. from epi
Epizeuxis tnfCeL<lt; Subiectio. est eills- The epi:eluis or sllbjectio is a contiguous irtt'ey vuw. adjungo; ist cine Rheta- zegnuo, adjungo. is a rhetorical figure
dem dictioni!, citra morcm cum impetu and passionate repttition or the same rische Figur. nath welcher tin oder mthr through which one or more words are
pronunciationis ae maions vehementiae word for the sake of greater vehemence Worte sofol1 hinter cinander empha- inunediatcly and emphatically repeated.
gralia, geminalio: fit vel amplificandi or amplification. lischer Weise wiederholt werden. Z-E. for example: Rejoice, rejoice, rejoice in
gratia. lauchzet. jallchzet. jauchzet dcm Herm the Lord all the earth. And were one to
aile Welt: selzet man abet: lauchzet. set Rejoice. rejoice in the Lord all. all the
Peacham (Garden oj Eloquence p .47) jauchzet dcm Heml alte, aile Welt; 50 im earth; it would be a double epiuuxis.
EpizcllXis is a figure whereby a word is eine doppelte Epizeuxis.
repeated, for the grmer vehemcncie, and
nothing put betweene: and it is used com- Mattheson (Capellmeister p.243)
monly with a swift pronunciation .... Denn. was ist z.E. gew6hnlicher, als die What is more common, for example, than
This figure may serve aptly to expresse musicalische Epizeuxis oder Subjunctio, the musical epizeuxis or subjunctio,
the vehemencie of any affection. whether da eineriey Klang mit Heffiigkcit in eben where the same note is vehementl y
it be of joy. sorrow, love, hatred, admira- demselben 11lell der Melodie wiederholet repeated in the same portion of the
tion or any such like, in respect of pleas- wird? melody?
ant affections it may be compared to the
quaver in Musicke, in respect of sorrow. eigenthch: figOrlich:

~
to a doubte sigh of the heart. &. in respect
of anger. to a double uabbe with a weap- II
ons point.

Goltsched (Redehms/ p.279)

Epizcuxis. Wenn danelbe Won glcich f.pizeu:cis. When the same word at the
hinter einander im Anfange cines Satzes beginning of the sentence is immediately ETHOPHONlA : see MIMESIS
wiederholet wird. repeated.

GottS(;hed (Dich/kunSI p.322) EXCLAMA TIO, ECPHONESrS: a musical exclamation. frequentl y

Es gcschicht abet diese Wiedctholung The repetitio can occur in many form s. associated \\~th an exclamation in the text.
aufvielerley An. Zuweilen wird im An At times one and the same word is set
fange ein und dasselbe Won xweymal twice at the beginning of a passage.
gesetzet. und das heipt Epizcuxis. .....hich is called an epi:ew:is. The musical exclamalio is virtually always used to express an exclama-
tion in the accompanying text. As such, it might employ a variety of
Ahle (Sonlme,...Otsprticlre p.16, 17)
specific musical-rhetorical figures, depending on the nature of the
Olin 5etzet er: laucilzet I jauchzet I jauch. Were he to set: Rejoice I rejoice I rej oice
zet dem Herren aile Welt; so ist es eine in the Lord alllhe eanh: it would be an exclamation. The relatively late and not particularly frequent listing of
Epizeuxis. Setzet er aber Jauchzct I epiu/ais. And were he to set Rejoice I one orthe most obvious musical-rhetorical devices is explained by the
jauchzet dem Herren aile I aile Welt; so rejoice in the Lord ali i all the eal1h ; it fact that many composers as well as authors used more specific figures
iSI es eine doppelte .... Doeh wie das ..... ould be a double epi:ellXis . ... But just
salz die gemeinste WUrzc isl; also ist die as salt is the most conunon seasoning. so 10 expressing exclamations. As early as the fifteenth centwy, DWlStable
employs the noema in his motet Salve regina at the exclamation: "0
clemens. 0 pia." further heightened through the addition of fermatas over
I. Ibid . 55 . each syllable. Praetorius, who does not develop a systematic catalog of
 e.lc/(lm(llio 267
266 exclamatio

musicalrhetorical figures , concerns himself with the related question of long since been established composit ional tools.
effective text tnterpretation. He discusses the exclamafio in the COntext
QUill titial1 (/nSIllUIIO IX.ii.27)
of perfonnance practice rather than musical composition. Here he under_ QUod exc1l1rnalione lll quidam \'ocant Some call this f'Xe/anwtio and place it
scores three requirements of the singer: the need for a pleasant and ponwltqlU."" inter figuras ora~ionis . Haec among the figures of speech. When they
"moderately trembling" voice, good breath control, and a suitable vocal quotil;fJS \ era SI UlI. nOli sunt In ea forma. are genllille exclamations. the)' do not
de qua nUllc loquilllUr. al simulata el arte belong to our present discussiou. How-
range. In addition, the singer must be knowledgeable regarding intal/atio, oom posi ta procul dubio schemala sum e\'er, when they are sim ulated and an-
" that is, how to begin a piece" (referring to the use of an opening ac- exisu manda full), constnlcted.they can without doubt
eenlus) and regarding exc/amalio, ''that is, the proper method of moving be regarded as figures.

the affections." He associates the exclamatio with a rapidly descending

Susen brotus (Epilome p.64)
dotted passage, calling for the vocalist to express the text appropriately. Exclamalio. CSI quae conficil significa The uc/amatio e;>!:presses an indication
His emphasis on affection and text expression clearly points to the close lionem aUI do!ofls aUI indignationi! per of anguish or indignation over a person.
hominis. aUI urbis. aut loci. aut temporis, cit)'. place, time, or an)' other such thing.
relationship between the common understanding of the musical device
aUI rei cuiu,piam compellationem.
and the concept of the musical-rhetorical figure s. To portray and move
the affections is the primary concern of both musica poetica and the Gottsched ( RedekulI5l p.286)
Exdamatio. Wenn mall aus einer stllrken Eu/amalio . When an exclamation is ut
musical as well as rhetorical figures themselves.
GemUthsbC\\egun g ei nen AusruIT Ihul. tered oUI of a vehemellt affection.
Vogt is the first author to include exclamatio as a specific musical-
rhetorical figure . In keeping with all of his musical-rhetoricalfigurae Gottschcd (Well ikulisl p.316)
ideales, he chooses the Greek tenn, ecphonisis, instead of the more Lami f:ingl die Figuren mil dem Ausruffe Lam), begins his list of figures with the
(Exdamatio) an : weil diese die natUr- uc/allwlio. because it is the most natural
conunon Latin exclamatio. In doing so, Vogt consciously establishes the lichstc ist . und in vi elen Affecten luerst and first to be uttered in many affections.
relati onship between the ancient art of rhetoric and his own musical- hervorb richt. DClUl es giebt einen Ausruf. For thcre are e;>!:clamations in joy, sorrow.
in der Freudc. T rau tig.keit. Rachgier. im- vengeance. similarly in fear. trepidation,
rhetorical interests. Walther then lists both Greek and Latin tenns,
gleichen im Schrec ken, Zagen. Verzwei- despair. defiance, and similar affections.
suggesting the use of an upward-leaping minor sixth to express the feln. Trolzet1. u.d.gl. ).fun giebt es lwar And th ere are also certain formulations
exclamation found in the text. Mattheson and Scheibe both underscore gewisse forme Ln. die eigellllich dazu be- which are intended for such e;>!:pressions,
the wide variety of techniques and devices which might be employed to stimnll sind. als Ach~ O! Weh r Wohlan! such as Ach! O! Weh ! Woh/on! Hey! So,
He)'! Sa, Sa! Hal U.II .IIl. Allein es werden Sa ! !la! and others. Indeed. the number
realize a musical exclamatio. While Mattheson attempts to identify the so \'iel an dre Red ensarten dazu ge- of expressions used for this purpose is far
various possibilities, Scheibe acknowledges that "its properties are as braucht. dall ih re Zahl nich t lU be- too great to specify.
diverse as its origins, causes, or effects." Although Mattheson lists the stinunen is!.
figure as a Spruell-Figure,1 he discusses it in the chapter dealing with
Praetori us (5.mlagma .l1ru kum /11 p.23 1)
the parts and caesurae of a musical oration.Z F urthennore, the title and Exdarnal io ist d~s rl.""thte Mittel die affec- The e.fe/amMio is the proper method of
content of this chapter point to the eighteenth-century intention to tus zu 1I10\"ircll. so mit erheblmg der moving the affe<:tions and is achieved
StinUll geschehen !l1UP: Und kan in allen throllgh raising the voice. It can be em
devel op an understanding of the figures which parallels the rhetorical
Minimis und Semim inimis mit dem ployed in descending passages of dotted
discipline, even though the respective musical devices and methods had PWict l dcscendeml o <lngebrachl und ge- minimae or umilliinimae, thereb)' caus-
braucht werden. Urmd moviret sonderlich illg the following faster note to be more
die folgend e N' lta. so ctwas geschwinde passionate. In cont rast. a heightened and
fongehet mehr aITcc tus, als die Semi shonended semihre\"is is not used in con
I . Capt!llmeisler. 24]. breVis. welc he in erheb Wlg Wid verringe- ne<:tion with the exc/amalia b~ause it is
2. "Von den Ab- und Ejnschnilten der K/ang-Rede," Copt!llmeisler, ch.9, 180ff. rung der Stimm ohn Exclamation mehr less passionate and also more graceful.
Here he also discusses the musical question (interrogOljo) and musical expressions of stadt findet atlch bessere gra tiam hat.
the porenlhes is. all three being indicated in the te;>!:t through specific punctuation marks.
268 exclamalio tX/ensio 269

Vogl (C ()1If: hWl p. l 5 I) ein rechlcs Geschrey, so aus ilusserster a veritable scream resulting from extreme
Ecphonisis. incJamatio. UI o. proh dol or. Ecplr(ln j.ri.f. An exclamati on. sUl:h 8 5 "0. Bestilrtzung. Erslaunung, aus schreck dismay or astonishment because ofhorri-
&,. what pain!" etc. lichen. griiutichen Vorfllllen entspringet. tying or atrocious events frequently of the
die den hOchsten Gipffel der Verz ..... eif highest order of despair. ... Here desper-
Walther (Lexicon ) fdullg om ersteigen .... Hier ist nun lau ation reigns supreme, which therefore
Exciamalio(lal) iX$W V 1l0l~ (gr.) iSI rine The e.Tclamatio or ecphonesis is a rhetori _ ter desperates Wesen, und darff man also also permits a fallacious use of intervals
Rhetorische Figur. wenn man etwas cal figure whi ch sign ifies an agi tatw ex- Bueh lauler wrworrene lntervalle. die ei ..... hi ch exhibit an unruly character when
beweglich ausruffet; welches in der Mu- clamation. This can be reali zed very ap. ne unbliJidige Eigenschaffl wieder einan- brought together. such as simultaneous
sic gar fUglich durch die aufweru sprin- propriately in music through an upwa rd_ der haberl. als grosse und kleine Tertzen major and minor th irds. To accompany
gende Sextam minorem geschehen kan. leaping minor si xth. ztlsammen etc. auf die Bahn bringen. und such vi cious and scandalous sc~aming,
zu dem ruchlosen.lllsterlichen Gesch~, one may choose a raging turmoil of fid
Mattheson (CalJe/lmeister p. 193f.) ein ....iitendes Getiimmel. Gegeige und dling and piping.
SollIe nun wol iemand meinen. dall. Should someone now suggest thal.j ust as Gepfeiffe zur Begleitung wehlen.
gleichwie in den Fragen tin zweifacher a twofold differentiation is mad e in thc
Unlmchied ist, also in den AusTufungen imerrogatio. there is similarly a threefold Scheibe (Cirfischer Mluir:ru p.686)
tin dreifacher wlire? wdehes skh doch, differentiation in the exclam at/u, they Die erste Figur ist also der Ausruf. TIle first figure is the exc/omotio. Its
bey der Untersuchwlg, gantt richtig be would. upon further examination. be (Exdamatio.) Die Eigenschaften dessel properties are lIS diverse as its origins.
findet , und den Componisten lI1\erdings provcn correct. The composcr is also ben sind so versch ieden, als die Ursa causes. or effects. It should be generally
verpnichtct, somane AusbrUche auch auf obliged to cxpress such outbursts in as chen. wodurch er entslehl, oder als die noted that it is commonly expressed
eben so vieieriey Weise zu bearbeiten, many different ways. even though Ihe)' Wirkungen. die ihn hervorbrin gen. In- through an ascending passage, using con-
obgleich nUT einerley Zeichen ( !) daw are indicated by one and the sam e sign: zwischen ist dieses libethaupt dabey zu sonances in joyous events or affections
gebraucht witd. Die erst An begreiffi (1). The first type consists of an astonish- merken, daj3 er insgemein aufwllrts ge and dissonances in sorrowful ones. This
cine Verwunderung. eincn freudigen Zu ment, a joyous shout, or an enco uraging schehen muj3. und da~ er bey freudigen applies in regard to both melody and har-
ruC. oder einm 8ufmuntemden Befehl. command.... Herejoy is always master Begebenheiten, oder Gemlithsbewegun mony. The exc/amalio must always be
... Vod hiebey spiel! die Freude aile- and the ruling affection. Therefore onl) gen dUTCh conSOllirende SlItze. bey trauri- distinctly discernible and dea rly distin-
mahl Meister; sie iSI die herrschende lively and brisk musical e,'(pressious are gen aber dutch dissonirende auszu- guishable from the accompanying instnl-
Leidcnschaffl: Daher denn lauler leb- used in such cases, and particularl y large drucken isl. Uieses ist nun, so wohl in ments. II should also be notw that. in
haffle und hurtige Klangfilhrungen dabey and leaping intervals. Ansehung der Melodie. als in Ansehung passages expressing despair or other \'C-
gebraucht werden nlUssen; absonderlich der Hannonie, zu verslehen. Durchaus hement passions. the uc/amotio is best
abe r grosse WId weite Intervalle. abet mup er deutlich seyn. und 5ich von expressed through enharmonic melodic
der Begleitwlg der InsltUmente wah l or hannonic passages.
Die zweile Art der Ausbrilche oder The second type of outburst or t .te/a- unterscheiden. Bey der Verzweifhmg lUId
Exclamationen hilt alles WUnschen und malio expresses all kinds of desire and bey den heftigsten Regungen ist noch zu
hertz.l iches Sehnen in sich; aile BiRen, fen'efllionging. all pleading, beseeching. merken, dap man den Ausruf am besten
Anrufungen, Klagen; auch SchreckniJl. complaining, lIS well as frighten ing, fear- durdt enarmonische Stltze, sie mOgen in
(kauen, EntselZen. etc. Die lemem enor ing. dreading. etc. The latter req uiTe a der Melodie. oder Harmonie, bestehen ,
dem eine melodische Heffiigkeit. so am melodic vehemence best expressed ausdriicken kann.
besten durch geschwinde oder doch hur through rapid or at least brisk nOles.
tige Kilinge auszudrilcken stehet; das However, sorrow and grief is Ihe mothel
Sehnen aber und die Ilbrigen Eigen- of longing and the Olher sentinlents ... .
schaffien haben die BetrUbnip alkmahl Therefore the composer will use uncom- EXTENSIO: a prolongation of a dissonance.
zut Mutter.... Da mUSSell, nach Befin- mon intervals. now large ones. now small
den der UmstlUtde, hald grosse. doth ones, according to the circumstances. At
nicht gemeine, bald kleine und au sseror all times tenderness is of particular im- In accordance with his concept of the musical-rhetorical figures as
dellIliche Interval1e angebracht werden. ponance. devices which legitimize the unorthodox use of dissonance, Bernhard
Die ZlIrtlichkeit herrschet datil! vorzUg-
defines exrensio as a figure through which a certain dissonance is pro-
Iich.
longed or extended. Although the exrensio is very similar to and is
Die dritte Art der Ausruffungen gehet auf The third type of exclamat{o consists of
270 exrensio fall.l bOlll'do/l 271

frequen tly used in connection with the muftiplicario, the former refers
to an "extension" ofa dissonance's duration while the latter underscores
the "multiplication" of the (extended) dissonant note into numerous
shorter ones. Bernhard li sts exlensio as one of the stylus theatraJis or
recitativlIs figures. Because of the basso cOfllilluo-accompanied monodic
musical texture, this "modem" style permits a freer use of dissonance
than the older contrapuntal style. In addition to allowing greater har-
monic licence, the freer meter of the stylus theatralis also permits grealer
rhythmic freed om. ' Thus, even if a dissonance were to be extended into
an otherwise strong beat, the resulting irregularity would not be per- Wahher (I I'XiClJII I
EXlensio (Ial.) to d1 (gr.) sonslen auch The I'.'rlells;o lOne. othe rwi se called
ceived as acutely 35 in other styles of music . A similar dissonance
aywY T! :omin genannl. s. C alvisii agoge l(Nwill (see Calvisius. Melopoeia.
occurring in thestyills luxurialls communis is calledprolollgatio, another Mdopoeiam c.8. war ~ den Griti:hen ch.8). was Ihe fourth species of Greek
figure fOWld only in Bernhard 's Tractallls .1 ln contrast to the extensio, di e \"ierdte Ganttng oder spti:ies ihrer composilional theory, and consisled of
Melopoe iae. \Uld gesllUld darUUI, dap di e Ihe voice remaining in the same lone.
the dissonance incurred through a pr%ngatio is explained in the context
Stimme imlllcr in cillcrley Tone lag.
of a transitus or syncopatio, with reference to the durational relationship
between the di ssonance and the preceding consonance.
Walther' s definition of exrensio does not mention the figurative t& 0 ..
1= ;j
..... II j II J .. j
understanding of the term but rather describes a Greek compositional
species also known as agoge. Neither does Bernhard mention the tenn
"
again in his Beriellt but rather incorporates the device (along with the
pr%ngario) under mll/tiplicatio : "The extended or prolonged mll/ri-
FAUX B OURDON. CATACHRESIS. SIMUL PROCEDENl1A: a
pJicario occurs when the dissonances are of longer duration than the
musical passage characterized by successive sixth-chord progressions.
preceding consonances. "J

The early origins of the term faux bourdOIl are to be found in the
Bcmhard (Trac/alUs p.83)
Extensio ist eiller Dissonanz ziemlich The I!ffensio is a rtI!her considerable pro- fiftecnth -century Engl ish /abllrdoll practice. originally signify ing an
lange wwende Ver!inderung. Sie ist ge- longalion of a dissonance. It is usually additional and improvised lower voice to the burdOI1 or camus jir/llu$.'
mein iglich mit der Mult iplicatio n ver- combined with the multiplicatio.
ei nigel. .While the /aburdOll accompanies the hurt/Oil at the lower third ' a discon,
IS added a fOllt1h above the burdoll. resulting in a progression of succes.
sive sixths surrounding the cantlls jirll1l1s or burdon. A similar and
presumably re lated tenn ,/GlL\" bourdon. is also encountered in France
in the fifteenth century. Allhough it signifies a similar successive three.
part sixth-chord progression, the call1us jirmus appears in the upper
1. In his definition of another stylus Ihealraiis figure, the Iransitus inllersus.
Bernhard tloles that Ihe dissonance incurred by this figure is pemlitted in the sly/us
Iheolrafis because this style " does not observe a SlnCI meier" ("welcher darum im Stylo I . D. HoffillaJu ....\:<lhehn. "Faburdon I fauxoourdon I falso bordone,' H ond1l'or/er-
re<: itatillo wgdapen. weil darinnen kein Tact gebrauchl wird'). See Transilus. bl/ch de,. IIIIlsIKallIe/,t" Ttl'minologie (Wiesbad en: F. Stcine r. 1972). In his article.
2. Sec I'roiollgUlio. Homllann-A."I(lheh~l has sigJlificanlly clarified Ih e confusion surrolUlding the origins,
3. See }.fllilipfico/io. de\elopmcfll. and 1II1erdepcndence of these tenns.
272 faux bOllrdon fa llx bOlin/Oil 273

voice. Furthennore. instead of amy being considered a fonn of improv j. with the resulting contrapuntal irregularity which is only realized in the
sation, jmL'C bOllrdOIl also signi fie s the corresponding compositional polyphonic context (/igurae ltarmolliae).1
technique,' The lenn /also bordo1/e is used as a translation of the French In his conscious effort to develop a concept ofmuslcal-rhetoncal
faux bollrdolt in sixteenth-century Italy, signifYing the parallel three-part figure s which is analogous to its rhetorical counterpart, Thuringus
compositional technique. Furthermore. it is expanded to include four-part predictably chooses a term for the faux bOllrdon technique which not
chordal hannonizations of psalm tones, usually with the root of the chord only appears to be a rhetorical term but, in fact, is one. Although the
in the bass voice. By the end of the sixteenth century the tenos faux rhetorical fi gure of catachresis (Latin, abliSio) can hardly be musically
bOllrdon and la/so bordone seem to be used interchangeably. reali7..ed. the tenu is useful in referring to the "abuse" of parallel fourths
Burmeister originally adopts both the tenn jall.'( bOllrdol1 and its in counterpoint. This contrapuntal irregularity, which had already been
content into his flrst Figurenlehre. ln this case he does not find it neces- discussed by Adam Fulda, among many others, is then clearly explained
sary to supply a rhetorical term for the familiar musical device bUI, in in Walther' s definition o f catachres;s, which he defines with respect to
his concern to identify compositional phenomena for the purposes of parallel fourths and also other harmonic irregularities, such as harsh
instruction and analysis, uses established terminology. With the further resolutions of dissonances.
development of his concept oflhe musical-rhetorical figures, Bunneislcr Ine expanded Italian understandingofthe[also bordone-to include
does introduce alternative terminology. He chooses to name the figure a four-part homophonic hannonization of a chant or psalm tone-leads
with the descriptive term simlll procedenria. meaning "simultaneou s to the introduction of another rhetorical tenn, the pfeonasmus, literally,
progression," and also supplies the Greek translation of the Latin tem1- "abundance. excess." Besides being used by Bunneister for a musical
Although this is not a rhetorical term. it is a consciolls paralleling o r figure, lhis rhetorical tenn, which signifies an overabundance of modify-
rhetorical nomenclature. TIu-ough it he no longer emphasizes the archai c ing words. 2 is applied to the falso bordone technique to indicate an
"contra-bass" understanding of this hannonic progression. but rather the overabundance of syllables or words which are to be sung to a single
contrapuntal "error" (or license, as Vogt later points out) of the resulting note, a feature of psalm-lone incantation. This understanding of the term
paralle l fourths . Burnleister places the device among the jigllrae ram does not appear in any Figurenlehre, but it is listed by Vogt in the
ltarmo1l;ae quam melodiae. Hi s understanding of musical composition introductory glossary of his Conclave and appears in lanovka's Clovis
is governed by sixteenth-century imitative counterpoint and not a as an independent entry under [also bordone. While lanovka explains
chordal, basso cominllo texture, prompting him to classify the figure as the teml only in dus restricted understanding, Vogt suppliesfalso bor-
"both harmonic as well as melodic ." He thereby underscores the parallel done with the (WO differing definitions. This twofold Wlderstanding of
motion (s;mlll procedentia) of the individual voices (jigllrae melodiae ), the interchangeable tenns,falso bordone andfaux bourdon, is already
evident with Praelorius and appears again in Walther's definitions of the
tenns.
I. tn northern MiddleEnglish,fa means oppooent and hl/rdO/l signifies the cantl/.f
A further nonrhetorical Greek tenn, isobarus, meaning "same path"
jirnllls as round in the towest voice. While bOllfdoll in the French teon presumably or "same progress ion," is employed by Kircher to describe the harmo-
parallels the English bl/I"don. the prefiX /a is replaced with/al/.r (false). The various nized chant. The introduction of the tenus isoballIs and ple01lasmlls for
attempts to identiry a semantic compositional "falseness" in the fifteen th-century context
hamlOnized psalm tones can be explained by the fact that this com-
or the tenn have proven imaginative yet unconvincing. While the first reference to the
French tenn is round in a manuscript ofDufay's Alissa SO/Ieti Jacobi (ca. t 430). it is not
clear whelher it rerers to a "fau){bourdoning voice or to the entire /m/x bOlirdOll
passage. Only at the very end of the century is an elaboration on the inC<:lrrect musiCll1 1. See also longrries. a figure which Burmeister understands as a modified sinllli
syntax of parallel rourths tllCOWltered. namely in Adam Fulda's Musico (1490). thereby prO(;/edenlia.
clearl y establishing the ternl as a reference to an irregular compositional device. 2. See PleollosmJlS.
274 faux hOl/relan f(m.t bOllnlOIl 275

positional device no longer featured the hannonic irregularitie s which

justified the termjallxlfalso bourdonlbordone. As Practorius already
points out. "now that the bass is always SWlg a fifth lower than the tenor.
the hamlOny is corrected and completed ." Therefore. some authors seek
preetorills (S.l'IIwgmo Musirum III p.9)
to di stinguish between the tw"O musical devices by introducing differenti_ Falso Bordone I . Furs erslt werden die Fal.fo Brmlmre. First. the Psalms at the
ating tenninology. While some choose to underscore the harmonic psaimetl so im anrang der Ves~r I als beginning of Vespers which are set
Nola contra Nolam In einer reige nach homophon ically in successive note
irregularities of the sixth-chord progression with the term calachresis,
einander in unisono gesetzet seyn I against nOle fashion are called Psalm;
others wish to highlight the overabWldance of words to be sung in psal mi Falsi BOIdoni genennet : Wiewol Falsi Hordolli. But now that the bass is
hannony to one chant note with the tenns pleonasm/IS and isobalus. in denselbcn nunmeh r der Bap in deT always sung a fifth lower than the tenor.
Simultaneously,Jauxlfalso bOllrdonlbordone is also used to identify both Quinta Wller drill Tenor allcwl gefWlden Ihe hannony is corrected and completed.
wird I so die llamlOniam gut und Com
musical devices. pie! machet.

Quintilian (lnstillltio VIlI.vU4) 2. Bey den italis aber ist fAI..sQ Bordolle. Second, what the French call/allx bour-
Eo magis necessaria catachresis, quam This necessitates the c%chresis, cor welch es die Frantzosen rAULX BOUROON d Oli is also called falso bon/aile by the
recte dicimus abusionem, quae non rectly translated as abrlsio. wh ic h adopts nennen ! wenn ein Gt'sang mit eilel Sex- Italians. This occurs when 8 composition
habentibus nomen suum 8ccommodat the nearest available leon for something len nacheinandcr ges ungen wird I also features only successive sixths in such
quod in proximo est. which has no name. ctap der All VOtll Discant eine Quarta, lUld fashion that the alto is a fow1h lower than
der Tenor vom All ei ne Tertia niedriger the soprano and the tenor a third lower
Susenbrotus (Epitome p. II ) I WId also ohen eine Quart, Wld Wllen ein than the alto. resulting in an upper fourth
Abus io. est quae non habentibus nomen The ahusia occurs when the neareSt Tertia respectu medi ae Vods i5t. Eral and a lower third bet:ween the voices. In
suwn. accommodat, quod in proximo est. available term is adopted for something aUlem veteribus rec eptum. ue iucun- the pasl it was also accepted that most
which has no name. dissimae harmoniaronr excuniones inler- delightful passages of the composition
dwn hac ratione inSlit uerentur. Sed cum could occasionally be introduced by th is
Burmeister ( H)pomm~matum) veram Basin non habeant. &: Bordone method. But as these passages in fact lack
Faux Bourdon fit quando Ttrtiae. Quar- The lauor horln/Ofl occurs when thirds, Itali5 chordam. quae una nJlI seu maxi- the bass or bordOfle, and indicate a
tae. &. Se:xtac simili motu seruntur, ad fourths. and sixths are combined in paral mam in Test udine pro;ume sequi tur. sig- chordal progression whi ch proceeds in
mod um ferme congeri ti. lei motion. very much in the manner of nificet. Falso Bordoue appelJatur. Denn the upper or next highest voices, it is
the cOfIgerie.s. die Tertia hat ihren natUrlichen Sitz niche called lalso hordOfle. For the third by
in sonis gravi bus & inrerioribus, heson- nalure is not situated in the lower but
dem in sonis acut is & superioribus. rather in the upper voices.

Thuringus (Opl/sCl//lim p.126)

Quid est CAtaducs is? Calacheesis Stu What is clliachresis? The catachresis or
Bunrleister (Musica Poetica p.65) Faux Bourdon est. qu ando plures sextae /allx bOllrdon occurs when numerous
Simul Ptocedentia, sive mota, 0)100H' Simul procedenlia or [simul] mOla, that & Tert iae ascenden do sim ul progre sis ths and thirds ascend in parallel mo-
xao vt a vel 0)1tOXtV6I'EVa. vel aut is homQSlichao11lu or homiocineomena diunlur. tion.
gallieo nomine "'ocata Faux Bourdon, est [simultaneous progression), known as
in tribus vocibus sub eodcm motu & pari lau~ haun/arr in French, consists or B lanovka (Cluri.~ pA2)
quantitate Ditononun vel Semiditonorurn progression of major or minor thirds and Falso bordol1e. a li ~s Pleonasm us. aut ut Ful.lo bOl'done, also known AS plea-
& 6tatEOoapwv compositio. Exemplum founhs in three voices, all of the sante P~ter Kircherus habet lsobatus. dicitur, IlllsnrllS. or i.lobatrls as Kirch er calls it,
est in Orlandi Omnia quae fecisti nobis duration and moving in parallel motion. dum in aJiquo canlu nlultae syllabae, vel occurs when numerous syllables or words
Domine. ad texlllm: peccavimus tibi. An example is rOWld in Orlando's O",nia vocabu la sub una no ta canuntur. quod are Sling 10 one !late in a can/lIS. as in
quae/eeisti nobis Domine al the textpec, COrItingit in quibusdam de 00. SS. Lila certain litanies.
cavimus libi. nii!.
276 fmu boumon /ligo 277

Werckmeislcr (H)110nlllemQta ,\lusica lere Tertien. und gegen die obere voices fourths . It is thus called because
p.?) ~ rten machel ; wei I so1cher geslallt such a passage lacks the proper and cor-
Dami! wir mOl weiter auf die progression Continuing now with the progre.f slo of '; :nl Satze das re~hte und ordentlich rect foundation. the true support. or the
der quartae kommen I so haben die Allen the fourth. it should be noted that in the ~undal11enL die wahre StOlle. oder das fulfilled harmony and completed chord.
die Continuation deBelbcn nur in gewis- past its successive use was onl y al1 o\\ed . efIlhche Ende der Harmonie WId des ... (3) when the C(Jntusjirmus melody is
sen progressionen zugelassen I doch hal in certain passagcs Nld specific il1stances. ~~rds mangell .... J .) Wenn die Me- nOl placed in the outer but rather in the
sie ihren locum. n .p. superiorem behal- This they called/also bordon lind used it. lodie eints CanlUs firmi nicht in den ex middle voices (normally in the tenor). the
len: Dieses haben sic genennet falso bor- for example, 10 express a sorrowful a.lTec. lfCIll. sondem in den Minel.S.t immen (so other voices being free to figurate .
don und haben damit etWa einen trau- tion. emeilliglich im Tenor geschtehet) auge-
rigen affectum exprinliren ..... ollen. ~hl li nd gemhret wird, WOlU die Ott-
riSen Stimm en figll riren.
VogI (Conda\"e pA)
Falsobordone primo Pleonasmus eSI, & FirstJalsobordolle. or pleonasmlls. iso- Walther (Lexican)
Isobatus, cum sub una magna nOla plures balllS. signifies a passage in which nu- Faux.Bourdon ist eben WIS Falso bor Faux bOl/rrlon means the same tbing as
syllabac, vel verba, uno. eodemque 10110 merous syllables or words aTe sung on done. Beym Furetiere ist FausBourdon fa/so hordOlle. Furetiere understands/ailS
canunlur. Falsobordone secundo est recto one pitch to one long nOte. Second ./(I/so- 8uch so viel. als Contrepoint simple. horll-don to mean simple counterpoint.
motu consecuti o plurimn quartarum; & bordo"e signifies a passage of numerous
inter lkentias locum habel. Hoc modo fourths in orderly motion and is consid.
fiunt quartac lilac. ered a /fcelllia [an exception to COlllra.
puntal rules}. These fourths occur in the FUGA: ( 1) a compositional device in which a principal voice is imitated
following fashion :
by subsequent voices; (2) a musical passage which employs juga to
vividly express chasing or fleeing.

Fugal composition is one of the first musical devices to be associated

Walther (Lexicon) ,\;ith the rhetorical discipline. t An indication of a rhetorical understand-
Catachre5i5. gr. x/ltaXP11O\,. heisset 50 The catachruis means ubl/sil). al\ abuse ing of juga appears as early as 1536 with the reference by Stomius to
vielals abusio, ern MiPbrauch. oder unei- or incorrect use. This occurs when a dis-
gentlicher Gebrauch. Dergleichen entste- sonance is resolved in an unusual and
juga as a mimesis. a rhetorical figure of repetition.2 1bis seems to be the
het. wenn eine Dissonanz nich t auf or hanh manner. The progression ofnumer first J..nowTl intentional application of specific rhetorical-figure terminol-
dentliche. sondem ausserordentliche und ous successive fourths which are made ogy to a musical device . Dressler mentions juga as one of the most
hane An resolvirt wird. Dcr Progressus acceptable through the bass is also called
important omamenta (i.e. , figures) used by Clemens non Papa.} In the
vieler auf einander folgenden Quanen. a ca/ochruis. According to the P)1hago-
welche durch den Bass klang. und rearls. fourths are also considered perfect trealise De Musica (after 1559), Anonymous of Besanr;on uses the tenn
brauchbar gemacht werden. heisset auch consonances and therefore are nO( pennit< ploce 10 defme ji/ga. 4 The common sixteenth-century understanding of
also; weil nach der Pythagorlier Meinung ted 10 immediately follow each other.
solehe auch unler die vollkommene
Consonanzen mit gehlSren. und demnach
immediate e:inander nlcht folgen sollen. I . For a comprehensive discussion of tlle relationship between fugal technique.
rhetoTical procedures. and their common structural processes and devices, see G. Butler.
Walther (/,exicon) "Fugue and Rhetoric." 49ff.
Falso bordone. heiuet I .) wenn auf eine Fa/so bomone occurs (I) when numer 2. See also Mimesis.
Maximam. dol . achtschlllgige NOle. viele ous syllables and words lire sung rmisolJu 3. Besides the iilgo, Dressler also mentions .fyncoplrlio and chlllsl//a. It is also
Sylben und WISner in Unisono gesungen to a maxima. that is a note of eight beats. Dressler who suggests that the rhetorical organization of e.loroium . medium. and}",is
werden .... 2.) werden diejenigen Satze . . . (2) in a passage of a composition in
be adopted for a motet. Ruhnke. BurmeiSTer, 137.
einer Composition also genennet. worin which the upper and lower voices foml
4 . Quintilian defines place 115 a frequent repetition consisting of a mixture of
nen die OberStimme gegen die Untere successive sixths. the middle and lowcr figures . Like Anonymous of 8esan~on. Susenbrotus also Iranstates the Greek lenn with
lauter Sexten. die Mittlere aber gegen die voices thirds. and th e middle and upper the Latin copu/uliu as well as dl/plicatio. See Anup/oce.
278 fuga juga 279

juga is a fonn of strict canon, which Dressler eallsfilga integra.I This Of interest IS his reversal of traditi onal nomenclature: the sixteenth-
is also clearly the case in the definitions ofStomius and Anonymous of ccntury canon or ''real''jilga ( mera. ;I1fegl'o: pure. whole) now becomes
Besan~on . As nwnerous writers indicate, the tennjuga is derived from the "apparent"' or imagillaria one. Bumlcister wishes to differentiate
the Latin lugare, meaning flight or chase, a vivid description of the between those jilgae in which voices are not identical but only imitate
imitative activity between the voices. Other fonns of canon are also each other and those in which the voices are identical. ShouJd the voices
known by temlS which feature the same meaning asjllga, namel), the be identi cal. the composition in fa ct consists o f only one voice and is
French chase, the English catch, and the Italian caccia. Freer fonns of only see ll1in gl~ (imagil1aria) a po lyphonic composition. This al so ex-
imitation are also regarded asjugae. Here Dressler differentiates between plains why Burmeister places the two [onus offilgo in different figure
a semi/uga (the successive entries of the voices at the beginning Or categories. In his Mus ica Poetica thefilga realis is listed as one of the
during the course of a composition) and afilga mUlilata (general imita- figurae harl1lolliae. These are the figure s which afTect all the voices of
tive cowlterpoint). Nonnally only a differentiation between canon a...'1d a composit ion. While the different voices may be similar, they are not
imitative counterpoint is made, referring to them asjuga /igala (integra , identical. j Thefl/ga imaginaria, on the olher hand, is listed as one of the
mera, tOlaUs ) andfuga so/uta (libera, partialis, semi/uga) respectively.2 figurae wm harmo"iae quam me/odiae. As thi s ronn ofjuga in actuality
The adoption of juga into the family of musical-rhetorical figures consists of only one voice, it is ajigllra me/odiae. However, because the
is explained not only by the fact that it had long since been regarded as canonic device detemlines the fonnalion o f the remaining voices or the
an embellished fonn of composition or as an ornamenlum (as Bunnei ster entire harmunia. it is tam harmo f/iae quam me/odiae.
also called his figures) related to the rhetorical figure s, but that, as a Nucius adopts different nomenclature for the two fonns ofjuga in
frequent repetition of a theme,fuga is considered an aberration from the his list of figures: the canon is calledjilga (olalis , while freer imitation
ordinary or common fonn of musical expression which could be ex- is called filga parlialis. With thi s tenninology be preserves the more
plained through the concept of musical rhetoric. Regarding this Bemhard traditional understanding of the two fonns of imitation. While lolaUs
writes, "One should not repeat the same phrase too frequently . Yet refers to a complete or whole imitation (mera, illfegra),partialis signi-
Fugues and imitations retain their value. ") Furthennore, the various fies a 'fraetured (mllti/ata, sO/lila) fonn ofji/ga. Nucius also introduces
specific fonns of rhetorical repetition, which are also considered devia- !he categories o f figllrae pril1cipa/es and figurae minus prillcipa/es,
tions from the simple form of expression, find a natural place in musical whereby he wishes to differentiate between the purely musical and the
composition. Thus Bunneister heads his list of figures with fuga, fol- musica l-rhetorical figures . Bernhard replaces thi s terminology with
lowed by specific fonns of fugal variation which include the figures figurae jimdomellfales and figurae superficilaes. Fuga is listed Wlder the
mela/epsis, hypallage, and apocope. principa/es-and later thefillldamellla/es- figure s. as it has no rhetorical
Bunneister introduces the tennsjuga rea/is andfilga imaginaria to parallel and yet is a fundamental musical device. Thuringus and Kircher
differentiate between the free and the strictfuga or canon, respectively. both adopt Nuci us's classifications as well as hisjilga tenninology.
Kircher and Janovka include an additional definition of juga (in olio
senSll, as Jano\'ka puts it). Kircher. who emphasizes the text- and
1. Tinctoris also definesfoga in tenns ora canOfl: "Afuga iJ an agreement between
the voices of a composition rega rding the duration, name, fonn , and al limes als o
placement of their notes IlIId rests." ("F uga est identitas partium cantus quo ad valorem.
nomen, fonnam. et interdum quo ad locum lonarum et pausarum suarem.") I . This understanding is reinforced through Burmeister's use of the temlS JliJl",Ht
Coussemaker. Scriptorum de musicQ medii aev;, volA (Paris, 1876). 184. and 1l1l1)1 T]1l\' O~ . meaning to mimic or impersonnte. in describing thefoga reafis. The
2. Ruhnke, Burmeister, 149. rhetorical figure IIlImesis refm to mimicking the voice of another person, frequently in
3. "Man soil niehl oft einerley ModulatiOfl wiederhringen, doch bleiben die fugen derision. 111 such an imitation, the referen~ to the original must be clear yet at the same
und Imitaiooes in ihrem Werthe." Trae/a/us ch.2, 8, 41 . time remain distinct from it.
280 illg a jl/ga 281

affection-expressive nature of the musical-rhetori cal figures. explains in fact reflect an attempt ... to come to grips rhetorically with the
thi s "other sense" of juga as a fi gure which is used to express a te xt cUrTent broadelung of fugal practice in which the subject undergoes
containing words or ideas related to the literal meaning oCll/ga: to fl ee numerous slight alterations in the course of the work, including slight
or chase. This fi gure would conseq uently fall under the category of the melodic changes (as in the tonal answer), rhythmic changes (as in the
rhetorically relatedfigllrae minus pril1cipales. This interpretation is canzona). and a greater change in transposition."1 In his treatise Charles
again listed al the end of Walther 's numerous entries under juga in hi s Butler includesfuga in the section "Of the Ornaments of Melodi and
Lexicon. Hannoni." where he also discusses the reply, report, and revert. 2 While
Because Bernhard's concept of the figures is determined by ajustifi- these techniques have a similarity to imitative devices which are supplied
able use of dissonance in a composition,jilga fmd s no place in his li st with rhetori cal terminology in German treatises, no attempt seems to
of figures. However. he includes the two species of/uga IOgether with have been made on the part of English music theorists to adopt explicit
their traditional tenninology in other appropriate chapters of hi s treatise. rhetorical tenninology.1 In fact, tonal and real fugal answers are identi-
1n addition, he also lists some alternative names: the fllgapartialis is al so fied with rhetorical terminology in German treatises. While a fugal
called soluta while thejilga IOtalis is also known as Iigata . In his Lexi- subject is changed to accommodate a tonal answer through the reper-
ca" Walther lists the various tenns for the two types offllga: the canon cussio. the polyplolon and palilogia can be understood as real fugal
is known asfllga Iigata, memo ifllegra. totalis, and lI"iversalis, while the answers.4 Bernhard also links the alteration of a fugal theme \\-ith his
freer fonn of imitation is called filga fracta, libera, partialis. or soll/ra. Figurenlehre, but explains it in tenns of altering the modus. He li sts
In all of the tenns referring to the canon, an understanding of perfection mutatio toni as one of the figure s used in the styllls luxllrians. Later, in
or completeness of the figure is evident. In contrast, freer imitation is discussing these "mutations," Bernhard explains the tonal answer with
understood as an interrupted or liberated form o f fuga. Bunneister' s the consocialio modi, a combination of the authentic and its associated
unique termino logy does not find a place in this list of teons. plagal mode, and the real answer with the aequalio modi, an alteration
The relationship between rhetorical and musical composition focuses of the mode to accommodate a real answer beginning on the fifth note
specifically on fugal devices in late Renaissance and early Baroque of the mode. S
English treatises. I Francis Bacon refers to filga in rhetorical tenns when Mattheson still regards fugal writing central to the art of composition
he states, "The reports (Le ., repetitions] and fugue s have an agreement but classifies it as a figure of amplification "which serves more to pro-
with the figures in rhetoric of repetition and traduction." The rhelOrical long, amplify, and adorn a composition than to thoroughly convince the
traductio, also known as polyptotoll, is a figure of repetition in which passions." As such, this novel classification ofJuga is parallel to earlier
a word is repeated with alterations in emphasis. case, tense. or other parts practices of c lassifying the fuga as a principales or jimdamentales figure
of speech,2 Butler suggests that the application of this tenn to filga "may rather than a figure more closely related to text- and affection-expres-

1. G. Butler. " Music and Rhetoric." 53fT. As Butler notes. vi rtually all references
to the relationship between music and rhetoric in England appear in treatises not on cilanges in the repeated word, but rath er an increased emphasis through repetition.
music but on rhetoric. Little attempt seems to have been made in England to transfer 1. G. Butler, " Music and Rhetoric," 62.
text- or affection-expressive rhetorica l devices to musical com position. 2. The Principlts of MllSik, 71 ff.
2. Sonnin o, /film/book, 178. See also Po/yp/Olan . Peacham the Elder defin cs 3. It is Henry Peacham the Younger who makes this association when he asks
/radllclio as follows: "Traductio is a fonn e of speech which repeateth one word ofien rhetorically: "Nay. hath not music her figures. the same whi ch rhetoric? What is a revert
limes in one sentence, making the oration more plt"asant to the eare.. .. This exomation but. her anti strophe? her reports, but sweet atlaphoras? her cOlUlterchange of points.
is compared to pleasant repetitions and divisions in Musicke, the chiefe use whereof is. anhmetaboles?" 111e Comp/tal Genl/tman: ci ted in Strunk , Sourct Readings, 337 .
either to gamish the sentence with oft repetiti on, or to note well the imponance of the 4. See Reptrcussio, Palilogio. PoIyptOlan.
word repeated" (Garden of Eloquence. 49). Peacham does not high light grammatical 5. See Mlllutio t Ofli.
282 fog, /liga 283

sion. It is an expanded concept ofJuga, however, marking the end of its Ouring the course of the eighleenlh cenlUly.jilga is dropped from
importance as a musicalrhetorical figure and its increased significance the lists o f Illusical-rhetorical figure s. Not only is the device increasingly
as an independent musical genre, the fugue. Mattheson specifically lUldcrstood as an independent musical genre, but it no longer fits into the
associates three additional figures with the fugue, mimesis, expolitio, and affection-oriented emphasis of the late-Baroque concept of the figures.
dislributio, which "find their home in this greenhouse of figures ." Unlike As the figures are increasingly understood and defined according to their
Burmeister' S fugal figures, Mattheson ' s are not specific fugal devices text expressive and affective potential , juga loses its place to more
but rather general procedures, each in themselves giving rise to other expressi\e. rhetorical devi ces. The class of figures which were minus
devices. While mimesis signifies the general principle o f free , imitative prillcipales and slIperjiciafes in the sevenleenth century now become the
cOWlterpoint, expolitio and distribulio are figures which an orator em most significant ones. Scheibe mentionsjilga merely in passing at the
ploys to expand his argwnent, amplifying his point through various end of his di scussion of the musical-rhetorical figures, calling it only a
repetitions and divisions of his subject. I As an independent genre, the hannanic figure-he has also dropped the significantfigura principalis
fugue grows in stature to the point that Forkel, who on the one hand or fimdamemalis tenninology-which "actually belongs to the conunon
seems to think very little of intricate contrapuntal devices, on the other and basic rules of counterpoint.,,1 Thejilga, which was all important in
hand describes the fugue as the crowning musical genre. It also receives the decO/'alio ofa composition in the sixteenth and seventeenth centu
a novel and expressive justification: while a single melodic line of an ries. and was even referred to as the om (/mellfllm omamentorum/ loses
aria expresses the sentiments of an individual, the numerous independent its preeminent position in the following century. As in other artistic
mel odic lines of a fugue express the sentiments of a multitude, being disciplines. structure is deemphasized in favor of expressiveness in the
thereby both a faithful image and a fruit of Nature. Just as the individual eighteenth century, sounding the death knell for the Baroque era and
is only one member of a nation, the aria (the previously discussed genre) laying the cornerstone for the age of Empfilldsamkeit.
is only a part of a fugue : a nation incorporates many individuals, and a
fugue, many arias. It is therefore the grandest of all genres, just as the Siomius {I''';ma instnlctio C1')
Ingeninsa. quas mimeses seu fugas appel- MimeJe.~ or fl/gaeare ingenious construc-
general consensus of an entire nation is the grandest of all sentiments.' lam: ubi eadem vox a pluri bus. sed cenis tions. in which one and the same voice is
lemporum spaciis inlervenienlibus, con Suttessl\'ely sung by olher vo ices which
sequell1cr cani tUT. are delayed by a specified interval of
time.
I. Of interest is Thuringus' s use of the word c/irlribulio in his fogo definition
(' 'Quid est fuga? Est ... artifieiosa distributio"), suggesting a much earlier link between Anonymous of Besan<;on (De Mruica
the rhetorical and musical devices. See Dirlribulio, Mimesis. 206b)
2. " 151 sie nie-hl, diese manniehfaltige lUld kilnstliche Vetwebung, eine getreue Ab- Prima G raei~ d icta est rr}.6IC";: Lalinis TIle first is called ploce by the Greeks
bildwig der Natuf. ist sie nicht der vollkommensle Ausdruck der mannichfalti& modifi- copulatio. Sed vu lgus nunc cantorum and capulutio in Lalin. However. among
cinm Empfindlmgen aller Glieder cines Yolks, die erst nach Wld nach enlSlmen, sodano fUg3m nominal. Est autem ploce, vocum si ngers il is now generally referred 10 as
aber in einen Strom sich ergiepen1 ... Sie ist eine Frueht der Natur. So wie diese in dem repetiti o simi1ium aJiquo modo parallela, fl/ga. The p/oce is a parallel repetiti on of
Uerzen dtT Memchen vielartige EmpfindlUlgen erschaffen hat, so wie sie ... RUch mm- hoc est. pnrtium collalione aequa li. ve l the same voice in a een ain fashion , thai
rem Mmschen zugleich die Aeu~erung ihrer Empfindungen verstanet, so hat sie auch
der Kun sl vielartige Minel zum Ausdruck derselben gegeben. Diese Minel sind sAmmt-
lich in der Fuge enthalten: sie ist daher unter den IIbringen Musikga\tungen die prAch-
ligste, vollkommenste lUld grOpte. 50 wie Wlter den verschiedenen Aeullerungen unseret 1. "Diese Arten der hannoni schen Figuren (transitu.f. J)'IIcopafi(J./ug a j sind abeT
E1I1pfindung, die all gemeine Uebereinstinummg eines ganzen Volkes, in dem Ausdruck den Musihcrstiindigen bekanlll genug. dall ieh also nicht nothig habe. mich mil deren
eines Gefilhls, das prachtvolleste, rtihrendste Wld grl$te Schauspiel isi. WI! will ein cin ErkUi.rung al1hier zu besch~migen . Auper diesen gehoren sie eigentlich zu den
zeiner Mensch gegm ein ganzes Yolk? Eben so wenig als cine einzelne Arie gegen eine allgemcillen tlnd ersttll Compositionsregcln. die iell in diesen Bllittem zu erlliulem nichl
Fuge. Die AJie ist von der Fuge nurein Theil, wie der einzelne Mensch vom Volke. Das geson nell bin." O'ilischer MIISicIIS. 699 .
Yolk enthliit viele Menschen, die Fuge viele Arien." Forkel, Allgemeine Geschichte, 48. 2. Ruhllkc. BurmeiSler. 149.
284 juga jllga 285

simili, sibi inttr ae respondenlium. is. through a combination of equal or like perin de est. i OtEp64>wvor; est. quae leading position. Among all the voices. it
parts which in th emselves correspond to affectionem ruganl par1Ultem. nunina!, ut is the one which !Wunds first . Hyslero-
each othcr. ca quae posterior edilUr. YotEp64>wvo<; phrmos is the voice which imitates the
la11l multiplex fit. quam multas Fuga prepared fugal structure and is introduced
Burmeister (HypomnemOlum) represental ,"oces, qUlnl m prima did later. HYSferop/lonos can be as numerous
Fuga est Melodiat alieuius ttl )lE~U)lTl Fuga is the mimicking o f the parts or potest 1'lpw:l'\. subandi ioatEp6>wvo<; as the number of imitating voices in the
}oItvo\> paribus vel iisdem intervallis same intervals of any me/alia. There are \'Ox; 5e'<:Wlda oEutipa; tertia tPltl'\ etc. Juga, the fi rst of which can be called
expre5sum. Fuga duplex est Realis e( two kinds of juga: Realis and Imasi- pNJIe, the second deufera. the third trite.
lmaginaria. Fuga Realis expressis diver- naria. Fuga nwlis accomplishes this ~ ,.

sis vociblU, vel etiam similibus to fli- mimicry by constructing diverse or simi
!"UHl exsequitur. lar voices. Burmeister (,\IlIsiea P()f!tiea p.65)
Fnga Imaginaria <j>uYll Hi;vtaOt\lcll est Fuga Imaginaria Of phl/ge phontasfike is
Yocis tmius existentis Melodia quam alia a me/aJia which consists of a single
wlica ex eodem sono, aut ex: diverso. vel voice, \'<Ihich is then imitatively taken up
etiam plures voces ad nuninandum, abri- by mote voices beginning on the same

- piwlt_ Hoc fit in exiguis Melodiae portio-

nibus. quae lusus gratia, nontam usus. &
note or on different ones. The points of
imitation occur at shon ponions of the
ita affingunlur. ut de novo ad placitum me/odia , the indication of these portions
possint aliquoties iterari. for the sake of ex~ution not always be-
Fuga Tmaginaria Melodillffi uniea solum The juga imagina";(l presents the me ing used. The addi tional voices are
voce exponil, cuius imitamen al iae voces lodia th rough only one voice. through formed in such fashion that they can be
Melodiam imaginando expediwlt. non- whose imi tation the other voices th en repeated from the beginning at will.
nunquam in iisdem intervallis. nonnulI- untangle the melodia, at times with iden-
quam in similibus. Fuga Imaginaria tam tical intervals. at times with like ones. Fuga Imaginaria est duplex 0~64>wv~, The Juga imaginaria is of two kinds:
multiplex fit, quam vane metodia ad dis- Thefilga imaginaria occurs as frequently unisona. lIa~$wv~ multisona, 0).16- NOftlopilonru or unisona, and p<lmpNonru
'anlias datur ruminanda. quae ex unisono as it reappears in the various voices lit a cjlw\'or; Fuga imaginaria est Melodia in or multisona. The fi rst occurs when the
fit. ex iisdem fit intervallis, eaque efror- certain distance apart. It can occur lit the onmibus Vocibus una & eadem, hoc est, me/od;a is one and the same in all the
mari ad plUTts voces polest. Quae Fugae Wllson using the same intervals and can Voces UotEp64JwvO I Melodiam pet 005- voices, that is when the following voices
ex alia distarllia rumin3Jltur. \It plurimwn be formed out of numerous voices. These dem intervallorum gradus imitantur ... . imitate the melodia at the same pitch and
ex duabus constant vocibus, & nomen jugae, whi ch usually consist of twO na~ cjlw\'o<; Fuga imaginaria, est Me- intervals . . . . The second kind occurs
suwn exinde (videlicet ex distantia) sor- \<oiees. are reiterated at vMious distan ces lodia. quam uot"Ep64>wv~ imitatur non when the me/odia which Ihe fo llowing
tiunlur. apart this distance also givi ng them their in iisdem inler\'alJorum gradibus, sed per voices imitate does not reappear exactly,
specific name. similes in distamia tena. n cif.l>wv~ but rather with the same intervals at a
Fuga imaginaria est tam multiplex. quam pitch a specified distance away. The for-
Burmeister (Musica "ne/iea p.57) multiplices SUIlI distanliae intervaUorum, mulations of fuga imaginaria can be as
Fuga Rea lis (j'Iuytj oUau.l6'lr; est talis The Jugu realis or phl/ge hOlls iodes is II ill qu ibus Melodia unius vocis, ab altera numerous as the distances of intervals at
Harmoniae habi tus. in quo omnes Har- form of composition in which all the voce ruminari potest. which the me/odia of one voice can be
moniae voces aliquam alicuius vocis in voices of the NWmOn/a imitate a certain repeated by another voice.
5UO conjugio affectionem imitantur inter- state of another specific voice in relat ion
vallis iisdem vel paribus. Quam com- to the same intervals alld phrases. One is Nudus (Milsiccs Poeticae G [')
positionem ve lut ,...EIH)I'l,...EVO<;. tam in free to use this musical mimicking either De Fugis. Quid sunt Fugae? Fugae nihi l Of Fugae. What arejugae? Fugae are
exordiis cantilenarum, quam in medio in th e beginnillg or the middle of th e sunt aliud. quam eiusdem themalis per nothing else but frequent. successive rep-
ex hibere liberum cst .... In Fugis Vox composition .... Infi/gae. one voice is distinctos Jocos crebrae resultationes Pau- eti tions of the same theme in diVerse
alia dicitut npo4H,,)\'EOUaa; alia liO tEp6- called prOphOlleQIlSa (sounding before). santm intervenm sibi succedenles. Dictae voices, separated by pauses. This defini-
>wvor;. Vox. quae Melodiam producit in the other N)'sleropNrmo.r (sOlmding after). sunt Butenl a fugando. qu ia vox vocem tion refers to fligh t, because one voice
Fugam convertendam, est ilia, quae dici- TIle voice which introduces the mtlodia fugal. idem melos dep romendo. Porto chases the other, thereby producing the
tur rtpo>wvEouaa, III ea. quae primo which is to be turned into ajllga is the haec figura apud Musicos in tanto est composition. Funhennore. this figure is
loco Fugae affectionem adomat. Quae one called propllfmeomQ and prepares precio. ut non pro artificiosa Cantione ea invoked by composers to such an extent
autenl imer reJiquas, 1tPOcf1wVEOuaa sit. the formu lati on of the II/gil through its habeatur, quae lion laboratissimis abun- that no composition is considered anful
286 fuga ji'go 287

dal & refena est fugis. Atque sane ex hac if it is not filled to overflowing with tice. the proof ofTyronius can be accom-
figura a omnium maxime Musicum in- fugae. However, the ingenuity of a com plished ill three or even two voices.
genium aeslimandum est. si pro certa poser in the use of this figure is to be held
Modornm natura aplas fugas emere 3tque in very high regard ifhe understands how Quid est fuga? Est Iwius & eiusdem clau- What is ajilga? It is an artful clislribulio,
erutas bona cohaerentia rite jungere scia\. to constnLct appropriatejilgae according sulae in diversis cantilenae partibus suc- a successive repetiti on of one and the
Quare omnino e!abo randum est. UI Har- to the specific nature of the modi and to cessiva repetitio & artificiosa distributio. same dal/mla in various parts of the
monia e\eganlibus fugis consle!. quod si properly connect these in good coherent Vel: Est ejusdem melodiae in reliquis composition. Or. it is a delightful repeti-
difficilius per onme5 voces videbitur, fashion . Therefore one should always vocibus iteratio jucwlda. Unde dicuntur? tion of one and the same melalia in other
quoniam magis exerdtalorum est illud, in strive to structure the harmonia through A fugando. quod una vox propter simili- voices. Whellce comes the name? From
tribus tamen vel duabus vocibus Tyroni elegantjilgae. Should this appear to be tudinem notularum alteram quasi fuge! & jagare, because one voice appears to
pericululll est faciendum. too difficult to accomplish in all voices. inse4uatur. chase and follow the other voice due to
which takes a great deal of practice. the the similarity of their notes.
proof ofTyronius can be accomplished in
three or even IWO voices. Quid sunt Fugae Totales? Cum duae vel What are jilgae tOlales? When ""'0 or
plures voces, ex eodem themate proce- more voices, proceeding out of the same
Quotuplices sunt Fugae? Totales: & Par- Which are the kinds ofjuga? Totales and dentes. juxta certi alicuius canonis theme. unite 10 the end of the harmonia
tiales. Quid sun! Totales Fugae? Cum Parfia/es. What atejugue lolules? When inscriptionem usque ad fmem harmoniae according to the specific inscription of
duae aut plures ,"oces, ex eodem themate two or more voices. proceeding ou[ oflhe concimnlllt. Dicitur fuga Ligata. integra the canOlr. The jilga is called ligala,
procedentes,juxta ceni alicuius Canonis same theme, unite to the end of the har- vel mera. ubi necesse est omnia acci- integra, or mera when it is necessary to
inscriptionem usque ad finem Harmoniae moniu according 10 the specific inscrip- dentia cantus quoad tempus & figuras observe every accidental of the can/us
concinnwlt. Tales Canones Silll! Fugae in tion of the cunon. Such canones can be II observari. Ilt ex unico duce scripto comi- regarding both the templls and the notes,
Unisono. Fuga in Epi vel Hypodiates- fuga at the tutison, the upper or lower tes eius imelligi & cani possint: ut: in order that numerous comites can be
saron. fuga in im vel U1l0e~ WTt\'t"E. fourth, the upper or lower fifth, or the perccived and Stutg out of one notated
fugae in btl vel uTrooltmaaov. Quid upper or lower octave. What are fugae dl/x. as in the following :
sunt fugae PartiaJes? Hae partes tanlum partiales? These are frequently partial
sunt totalium. ideo & fmctae fugae fugae tatales. and are therefore called
appellantur, ut cum eiusdem Ihematis fractae [fracturedj jilgae. Here the repeti-
resultatio in omnibus vocibus tandem in tion of the same theme in all voices fi-
perfectam consonantiam aut formalem nally resolves to a perfect consonance or

ftliE' , .. j - ""j
r u
clausulam abit. Harum in omnibus Can- clausulaformalis. The use of this figure II

lionibus. quas MotelilS vocant, uberrimus

est usus.
is most fruitful in those compositions
called Motets.
~ i
e
J e 0
II
Kircher (.III/surgia L.S, p.368)
Thuringus (Opl/sculum p.102) De Mt:lothcsia fugata. sive De fugis arti- Of Melothesia Fugala, or the artful con-
Haec figura apud musicos. quae etiam This figure , one of the figurae prin- ficiose instituendis. Principalis figura struction offugae. Thejilga is ajigura
principalis dicitur, in tanto est predo. UI cipales, is invoked by composers to such apud Musicos Fuga est. quae tWilO in pre- principulis which is invoked by compos-
non pro artificiosa can tione ea habeatur, an extent that no composition is consid- cio habetnr, UI non pro artificiosa canti- er:s to such an extent that no composition
quae non laboratissimis abundat & refcrta ered artful ifit is not filled to overflowing lena habeatur. quae non laboratissimis is considered artful if it is not filled to
est fugis. Atque sane ex hac figura om- withjitgae. However, the ingenuity of a referta sit fugi~; Et ita ne quemadmodum overflowing wilhjilgae. It does not pres-
nium maxime musicum ingenium aesti- composer in the use oflhis figure is to be ex figuranun arti fi cioso contextu in Ora- ent itself in the same manner as the inge-
mandum est. si pro certa modorum natura held in very high regard ifhe understands loria faCilitate Rhetoris elucet ingenium, nuity of an orator. namely through the
aptas fugas eruere. atque erutas bona how to construct appropriate jugae ac- I!a & Musici ingenium felix ex fugarum artful combination of figures in an ora-
cohaerentia rite junge~ scial. Quare om- cording to the specific nature of the modi longe pulcherrima serie aestimandulll est. tion. Rather the ingenuity of the com-
nino per omnes voces videbitur, quoniam and to properly connect these in good poser is held in esteem through his ability
magis exercitatorum est illus, in tribus coherent fashion. Therefore one should to construct a most delightful and long
tamen vel duabus vocibus Tyroni peri- always strive to structure the harmonia senes of/ilgae.
culum est faciendem. thrOUgh elegantjilgae. Should this appear
to be too difficult to accomplish in all Est autem fuga unius & eiusdem clau- Furthermore, a jilga is an artful distri-
voices, which takes a great deal of prac- sulae in diyersis cantilenae partibus sue- blllio. a successive repetition of one and
288 Juga Juga 289

cessiva, quaedam repelitio, & anificiosa the same c/allsula in various parts of the Theilen. Ms Gesanges. er sey mit 2. 3. 4. chases th e other. as it were.
distributio. Prima vox dicilUr Phonl- composition. The first \'oice is called oder mehr Slimmen, wech5el5weise zu
gogU5 sivc dux, italice la guida, sive "0:<: phonagogu.f or (hu.la Xllida in Italian. or horen bekommt. Hat den Nahmen a fu-
ant~ens, altera conseqUtfu. Esl antem the l'ax anlecedens ( for~oing voice). the gando. weil ei ne Stimme d ie andere
generice loquendo fuga duplex. lotalis & other the conseqllellS (following voice). gleicbsamjaget.
partial;s. T()(a1is ext. cum duae \'el plures Thejilga can be of two kinds: lOla/is and
voces ex eodem themate progredienles pm1ialis. lbe 100alis occun when two or Fuga fTacta (lat.) ist mit der partiali einer- Fllgafracta is the same as partiafis.
juxta ceni alicuius canonis inscriptionem more voices. proceeding out of the saine ley.
a principio usque ad finem hannoniae theme. are coupled from the beginning to Fuga impropria (lat,ital.) Fuga irregolare Fuga impropria . .. or irregl/laris, a false
continuaIllur. .. . Partialis fuga 5;\,C tibera the end of the htll'nrOtlia according to the (ita!.) Fuga irregularis (lat.) eine or incorrect filga, is nothing other than
& 5011113 est. cuim consequens dicit us- specific inscription of the canon. The uneigentliche. wlrichtige fuge, ist nichts imilalio.
dem notas antecedentes. non a principio Juga pDl'lia/is. also called Nbera or so- anders. als Imitatio.
usque ad finem ; sed aliquo usque.... Ilila . occurs when the cOlISeqllens does Fuga lihera (lat.) eine &eye. ungebwldene Fuga libera. a free , unbound, or un con
Fugae paniales. sivc ;miUUltes SWlI. quae noc follow the anlecedens from beginning oder ungezwungene fuge, fugue libre 0- strained filgQ. / ligue fibre or defiee in
supra nOlas alicuius cantus plani. vel al to end. but introduces other nOles. Fugae der deliee (ga!.) ist: wenn die anfangende French, occurs ..... hen the begiMing voice
tern subiecto indifferent; const;tuuntur. partiofes or inrilOnles are constructed on Stim11le VOIl den folge-Stimmen nur so is repeated by the following voices only
a call1llS pfOlIll.f or other subject. [auge und weit wiederholt wird, als das up to that poin t of the theme where they
Ihema gewllhrel. ehe diese ei ngetreten. themsel ves entered.
Kircher (Musurgia L8, p.145) Fuga ligalll ([at.) fugalegata (ital.) fugue Fllga ligata ... 0CCllB when one or more
cl>uytl sive fuga periodus hannonice est. Thefilgo is a musical passage which is liee (gal.) ist: weM eine oder mehr Fol subsequent voices C()mpletely iruitate not
verbis fugam indicantibu$ Apta, cuius- furnished with a filga according to the ge-Slinuuen der anfangenden nieht nur only the theme of the first voice. that is
modi iIlud: fuge dilecte III;; servi! quo- requirem ents of the text. such as " Fllge ihr thema. d.L den von Anfange bis auf its notes up to the entry of the second
que actionibus success;v;s exprimendis, di/ecle mi." It also serves to express suc- die zweyt e eintretende Stimme gemach- voice. but also all its following notes after
cuius quidem omnium fTequentissimus cessive actions. for whi ch it is most fre- ten Satz. sondem auch aile andere. naeh the enlries of the subsequent voices. It is
usus est. quentl y used. der eingetretenen zweyten oder Folge- therefore also called/uga mera. inlegra.
Slimme. vorkommende NOCen durchgin- obligatQ. and obligee.
Janovka (elm'is p.56) gig nachmachen. Heissec deswegen auch
Fuga (alio nempe sensu, quam superius Thefilgo (now in a different sense th an Fuga mera und integra (Ial.) obligata (Iat..
inter Principales Figuras sumpta) est the previ ou~ly cited figure among the ital) Fugue obligee (gaL ).
Periodus harmonica. verbis fugam figurae prillcifXlles) is a musical passage Fuga pmialis (lat.) isl eben so viel als Fllgo pal1ialis is the same as/llga libera.
indicll1ltibus apta, cuiu! modi est iIlud: which is furnish ed with afilga according libera; heisset auch bey ei nigen Parti- Others also call ilparliCIi/oris.
fuge dilecte mL to the requirements of the text. such as cularis.
"Fllge di/ecle mi." Fuga scioha (ital.) Fuga soluta (lat.) ist Frigo sciolta or soll/ta is the same asjilg a
mil der libera einerley. libera.
Walther (Lexicon) Fuga lotalis (lat.) Rerlina (ilal.) ist eben Frlga toraNs or redilla is the same asfil8"
Fughs. Fuga (ital.), Fuge (gall .), Fuga The filga . .. is an anful composition in was Fuga ligata.... Heine! auch bey ligala .... Others also call it fi lga rllli
(lat.). $ uy tj (gr.) eine Fuge. ist ein kUnst- which one voice chases the other. as it andem : Fuga un iversalis. I'ersalis.
lich StOcke. da eine Stimme der andem. were. IIsillg the same theme at different
gleichwn fliehend. nlit einerley themate pitches. See Niedt's Mllsicolische Ham/ Fuga bedeutet auch einen solchen Fllgo also refers to a musical passage
in verschiedenern Tone nacheile1 . s. leill1ll8. p. ll . or Mattheson's explanation musicalischen periodum, welchen man which is employed when the words indio
Niedtens Musical. Handleitung zur Vari- in his Crilischer Musiclis I : p.265. where bey Worten. die eine Flucht anzeigen, cate a flight . thereby illustrating their
ation des G.B. p. ll . oder. nach Mat- he writes: " a principal figure. consisting anbringet. und die Sache. so viel nur conlent in as like manner as possible. See
thesonii Beschreibun g. Crit. Mus. T.l. of a cenain repetition lind artful distribu- moglich. in Aehnlichkeit vorstellet. s. lanovka 's ('Iavis. p.56.
p.265. in der Anmerkung: eine Haupt- tion of a single predetennined c/au.wla lano\'kae Clavem ad Thesaunun magnae
Figur. bestehend in einer gewissen (possibl y more. should it be a double artis Musicae. p.56.
Wiederhohlung und kilnstlichen Ver- jill{a). which is alternately heard in vari-
theilung einer eimzigen feslfUrgese17.ten ous parts of the composition. be it of two. Manheson (Capel/melsler p.244)
Clausul (auch wohl mehrer. wenn sie three. four or more voices:' It receives its Noch eins ist ztI erinnern. dalinehmlich And fin ally it should be remembered thaI
doppelt ist) welche man in \'eI'schiedenen name from JI/gare. because one voice Unler die grossell Erweiterungs-Figuren. the wellknown and famous art work
290 groppo gl'oppO 291

deren elliche dreipig seyn werden. und called fugue is appropriately numbered eight noles together. visually portraying a grape like cluster of notes.
die mehr zur Verllngerung. Amp lifica- among the large figures of amplifi cat ion.
tion,:rom Schmuck. Ziernth oder GepriUl. There are app roximately thirty of these
Printz (PI,,") lIn ,III /llenmm .f pl.2, p,4S)
ge, als Zl.If grtIndlichen Uiber7..eugung der figures. which serve more to prolong,
Groppo ist eine gesch\\ mdlauffende Fi A groppo is a rapidly moving figure
Gem{lther dienen, nicht mit Unrecht zu amplify, and adorn a composition than to
211Il1. so sich iiberwaltn't wie ei ne Kugel which appears to revolve as if it were a
zehlen iSI du bckannle und beriihmtt thoroughly convince the passions. In-
- dahe! sit" :\Udl den i\ahmen hat l und ball . Ihereby suppling its name. 11 con
KWlSt-Slllck dtf Fugen. worio die Mime- cluded in th e fugue are figures such .5
fOnll iret im Schreli>ell einen halben sislS of four rapid notes which fonn a
sis. Expolilio, Distributio saml andem mimesis. expoIitio. dislributlo, and other
ereill Sie bestehel III \ iet' geschwinden half-circle. the first and third being the
BlOmlein. die sclten zu reiffen Frilchten embellishment! which are rarely fruitful
Nolen dt"ren erste tln d dritte einerley I same. the second and fourth having dif
werden, ihn: Residentz., als in einem and find their home in that grmlhouse of
die andere tlnd \ ierd te unterschiedene ferent positions. It can be either ascend-
Gewlichs-Hause. antrefTen. An seinem figures. More instruction regarding th is
Stellcn haben Sle ist c111 weder aulTstei- ing or descending.
Orte wird davOfl nltht Unterricht folgen. will be given al th e app ropriate place.
gend odet llbsteigcnd

GRADATIO : see CLiMAX

Walther (L r_lico/l)
GROPPO : a four-note motif with a common first and third note .
Groppo. ode]' Gmppo. pI. groppi. gruppi The groppo ... is a form of d iminl1/io
(ital. ) grouppe (gaiL) ist in der Music !/sed to omament notes of longer dura
In early-seventeenth-century Italian treatises, an entire trill which ends eine DiminUlions-Gatlllng grosser tll1d tion. and nonnally consists OffOUT eighth
lauger Not<'ll. tln d bestehel ordinairement or sixteenth notes with a common first
with a four-note turn is termed groppo, groppolo. or gruppa by Conforto,
atls vier Achteln oder Sechuhntheilen, IUld th ird note, the second and fourth hav-
Cavalieri, and Caccini, respectively. 1 In later German sources. the term dcrcn erSle, \U1d {\ria e; in einerley Tone, ing different positiolls. Should the fourth
is used to specifically identify the ending four-note confi guration. The da. zweyte und vierdle abeT in verschie- note ascend. it is called a groppo useen-
groppo is an ornamentalfigura simplex which is very similar to the four- denen T ont"11 sich befinden. Steiget die dellte . Should it descend, however, it is
vierdte Note in die Hijhe, so ists ein called a grOfJpo descendente. This dimt'-
nole circulo mezzo. Most authors agree that the groppa has common first Groppo ascend ente: steiget. sie aber abo mil ia is frequently tlsed on the penulti.
and third notes while the circulo mezzo has common second and fourth werts. so ists ci ne Groppo descendente. mllte note of a cadence in order to end a
Diese dimin ution \\ird ljffiers auf der frillo. See Bros.sard 's Dicrionnoire. Be-
noles. However, Brossard does not distinguish between the construction
pt:r\lIltillla ci ner Cadenz. um das trillo Ztl cause Brossard does not differentiate be-
of the two ornaments. describing them both as having common first and endigen. gcbraucht. s. Bross. Diction. tween a eire l/fo me::o and a groppo, I
third notes. While Walther defUles the cirClllo mezzo according to Bros- Weil nun solchcr gCSlall diesem Auctori believe that the groppo can only be reo
sard's description. Walther's circulQ (two adjacent but opposite circuli ein CiT(olo meu.o. p.20. und ein Groppo. garded as a ball or rolll"l" if the four-note
p,4J. ci n crlc~ is t: haitI." ohnmal}geblich figure is set twice successively.
metzi) agrees with the other authors' definitions. In order to clearly daftir: dap diese letZlere Figur alsdenn
distingui sh between the eight-note circulo and the groppo. Walther then erst den Nahmen ei ner Kugel oder Wal
suggests that the groppo only does justice to its name (roller, ball) if it tzc meritire!. \\enn \'orgemeldte vier
Noten zweymah\ angebracht werden.
consists oftwo such four-note motifs, resulting in two distinct eight-note
configurations. Mattheson also describes the groppo as an eight-note Matthcso)l (Caprl/me/Jtfr p. ll5f.)
figure. However. he justifies this through a different etymology of the Oil." ehmaligcn San gl!lci ~ICf machten vie! Previous songmasters made a great deal
Wesens \'on ei ner AusschmUckung. wei out of the embellishment which th ey
term : it is to signify a whole cluster of notes instead of only four. to chI' sie Groppo hic;scn. Nach meiner called gmppo. According to Illy Gcrman
order to clarify this understanding of the term, Mattheson beams the VcnclIIsc hung ist das 50 viI."I. als cin trans lation . this word means grapelike
Knauff in Iraub~n Gest a lt. und ich kan cluster. and I simply cannot wlderstand
nicht begreiffen. wie es m(lglich sey. dall how it is possible that this word, gl"OPPO,
dicses Wo n . Groppo. illl WeJschen ei ne should mean roller or ball, even though
I. Neumann, Ornumenlution. 287.
292 groppo helerolepsis 293

Waltze odeT K\Lgel bedeuten kOllne; ob es Primz. Walther. and illany others define Es beslehcl abeT der Groppo allzeit in 4. The groppo always consists of four short
gleich Printz, Walther und viele andre in il as such in Ihcir books. II is undoubt_ kleinen Noten_ deren die erste und drilte nOles, the first and third being of the
ihren (Jilchenl SO auslegen. Es kommt edly derived from gruppo. which means in eincm Ton: die anderte und viet1e Nota same pitch while the se<;;ond and fourth
gantz gewij3 her von Grappo. dne Trau- a grape, even in French and English. It aber in einem anderen Ton zu Slehen notes are set at different pitches.
be, die im Francztlsischen und Englan- denotes all those things, both literally and kotllmen.
dischen Grape heip!, Wid beuichnet alles figuratively, which are referred to as clus-
dasjenige, 50wol im eigentlicben sis ters. both in Lower Saxony and England
figilrlichen Verslande, was WiT im Nie- (as well as in old High German). namely
dersllchsischen und Engllindischen (als many small berries or other items which
HETEROLEPSIS: an intrusion of one voice into the range of another.
All-Teutschen) ein Klusler nennen, are cl ustered together just as the notes in
nehmlich z.E. viele kleine Beeren oder this Manier. which are all bound to-
andre Dinge, die dicht zusanunen geruge! gether. These groppi can be applied ei- The term he/erolepsis is unique to the musical Figurenlehre. It is a
sind odeT sich Muffen: wie hier, bey die- ther periodically as simple coincidental
descriptive tenn of a musical phenomenon, denoting an appropriation
ser Manier, die an einander geschlossene embellishments or can be used to sub-
Schreib-Noten thull. WiT . . . konnen die stantially structure the melody. forming (lepsis) by one voice of notes which belong in the range of another
Groppen theils ausserordentlich, als einen entire nms. TIlese runs can contribllle in (he/eros). This can occur through a leap to a dissonance which might
blossen zufalligen Zierrath, theils mTm- no small part to the musical expression.
otherwise have been approached through a passing note by another
lith oder wesentlich gar wol mit in die should the expression or the desired af-
Meloctie bringen. und gantze Lliuffe dar- fection permit such turning and revolv- voice, or through a leading note falling to the dominant at a cadence
aus bilden: welche keinen geringen Wol- mg. rather than rising to the tonic. Although the term is mentioned only by
Laut mit sich fUhren. falls die Leidell- Bernhard and Walther, Mattheson's parenthesis as well as Spiess's and
schaffi, so man ausdrUcken will, derglei-
chen Dreh- und Wendungen vergonnet. Vogt's metabasis are similarly defined. While the parenthesis might be
expressed through a voice leaping from its 0\Vl1 range to that of another
Ungeziert. Mit einem Groppo hiMUf.
voice, metabasis denotes voice crossing. In these two cases, however,
the chosen terms have rhetorical antecedents and are descriptive of the
textual allusion rather than the musical phenomenon. Scheibe also
describes a similar musical device in his definition of hyperbaton. He
Spiess (Tractallls p.156)
Groppo. hei~t bey dem Printz und Wal- Printz and Walther call the groppa a rol-
refers to it as a VerwechselulIg (exchange) which occurs "when a note
ther eine Waltze oder Kugel. Bei Vene- ler Of ball. In the past it has also meant a belonging to a higher voice is set in a lower one" or vice versa. 1 Bern-
TOni ein Hauffen gemahlter Kopf. oder group of illustrated figures or heads. Mat- hard's intention to explain a freer use of dissonance through his figures
Figuren auf einer Tafel. Matthesoni will theson is pleased with neither definition.
weder das erste noch das andere gefallen, saying rather thai it is derived from grap-
results in a choice of terms and definitions which emphasize com-
sondern sag!. es komme gewiP her von po. a grape, because it refers to all that positional rather than text-expressive devices.
Grappo. cine Tranbe: in dem es alles <las- which this term can literally or figura-
jenige bezeichne, was von dieser ill tively signify. We do not wish to settle Bernhard (Tracta/us p.8')
eigentlichem und Figurlichem Verstand this useless word war but rather illustrate Heterolepsis ist eine Ergreiffung einer The helerolepsis signifies the seizing of
k6nne gesagt werden. Wir wollen da die- the actual embellishment called afigura anderen Stinune und is! zweyerley. Erst- another voice and can occur in two ways:
sen unnUtzen Wort-Streit nicht deci groppo: lich. wenn ich nach einer Consonantz in first. if a consonance moves by step or
dieren. sondem den eigentlichen Zierratlt tine Dissonantz springe oder gehe. so leap to a dissonance which could have
dieser Figur Groppo vor Augen legen. von einer andem Stinune in transitu been reached through a transitus from
konte gemacht werden. another voice:

I . See Hyperbaton, Metabasis, Parenthesis.

 heterolepsis
hQmoioplo/(m 295
294

Die andem Stimmen atOnden also:

H OivIOIOPTOTON, H OMOIOTELEUTON: ( I) a general pause in all
voices (aposiopesis). either interrupting the composition (homoioploton)
Of following a cadence (homoiote/euto,,); (2) simiiarendings ofa nwnber

of subsequent passages.

In rhetoric these figures signify either similar case endings (homoio

proton) or similar final syllables ("ollla ;ote/ellta,,). In both cases, the
tenn is a literal description of the device: while homoios refers to the
Zum andem, wenn bey riner syncopirten Second. when an upper voice which sunilitudc. plOsis signifies a specific case ending and teJeute signifies an
untem Stimme, die obcre in einer Quart. ronns a fourth with a lower syncopated
begriffen nichl d ne Secunde sleiget, son- voice does not rise a second, but rather ending in general. The tenns are first encountered in the musical
dem cine Tertia lallel. falls a third: Fig/well/ellren of Nuc ius and Thuringus to signify two forms of the
general pausc. Nucius chooses homoiolelellloll to signify the fi gure
which Bunneisler lermed aposiopesi s. II is not the rhetorical definition
hut rather the literal meaning o f Ihe lenn which innuences his choice.
The musical ';simi lar ending" describes a simultaneous ending of all the
voices rather than a similar structural relationship between the voices.
Of the two lenns. Nucius elects the more general one rather than the tenn
which is spec ifically related to case endings. Thuringus reintroduces
Bunneister's aposiopes is, and adopts hOIllO;OptO/o1l in addition to Nuci-
us's IWlll oio/elel/tol1lo distinguish between two different placements of
a general pause. This distinction is darilied in Walther's Lexicon :
Bernhard (Ber;chl p.152) whereas homoto/elellloll is understood as a general pause following a
Heterolepsis heilh einer andern Stimme Heterolepsis means the laking of another
Nthmung und geschicht, wcnn ich I) aus voice and occurs ( I ) when a consonance cadence. homoiopl%n does not require such a preceding ending. Wal-
einer Consonanz (in cine Dissonanzl moves to a dissonance when this could the r presumably makes this differentiation on the basis of the tenns
schreite. so von einer andem Stimme in have been accomplished by another voice
through a Iransilus; (2) when a tower
generalis P(lIfSO for homoioplolOll and fillale s ile11l;um for homoio-
Transitu kOnte gernacht werden. 2) Ge-
schicht solche Nehmung, wenn in einer syncopated voice resolves and the upper relelftoll found in llmringus's definitions. Afil/ole s ile1lf;um requires a
s),ncopinen Quana die unterste Stimme voice which had fonned a fourth fall s a corresponding Fillaf-Caden=, while the generalis pausa does not.
sich ender. und die obere eine Tertia nu- third ""'here it should have risen a second.
Kircher adopts a definiti on for hOll/oiop/%lt more closely related
let. da sie eine Secunda steigen solte.
to the rhetorical understanding of the tenn , describing it as a similar
Walther (Pr(leCepI(J p.155) ending of a number of phrases. His Latin translation, similiter desinells ,
Heterolepsis ist. wenn cine Stimme aus The he/erolepsis occurs when one voice
in fact serves as the translation of tile rhetorical homoiolelelltofl rather
einer andem bisweilen einen Clavern hin- takes something from another voice or
weg nimmet. und den ihri gen unter-[?] even another clef and adds to itself that than homoioptotoll (Susenbrotus). As Kircher and Janovka do not under-
dap jener beraubten Stimme zukommen which rightfully belongs to the other stand the figure as a general pause and therefore do not differentiate
Utpet: diese Figur, als welche sich einer voice. This figure, which assumes a great between the two tenns. the line di stirlction between the words is not
gropen Fre),heit anmaset. wird mehren- deal ofliberty, most frequently occurs in
theils in sola voce, zu welcher etl. Instru- vocal solos accompanied by various in- necessary. Thc use of the homoioproroll to express a question as de-
menta accompagniren, gebrauchet. struments. scribed by Thmingus is consequently included in Kircher's definition
of pal/sa. a fllllctioll of this ragure of silence which Thuringus did not
296 homviQPloion homoioptoto/l 297

include in his own pallsa definition. Kircher's choice of homoioptotol1 alionnnque hoc Schema usurpant: Vete- composers employed this figure in motets
might be explained by his indebtedness to Thuringus's Fig/lrenlehre res quasi atlemionem excitaturi in motetis in order to arouse attention.
hllllc figurmn adhib uerunt.
terminology. where homoiopt%n is encountered for the first time as a
musical tenn. Although Kircher mentions the aposiopesis in Libel' 5 of lbu ringus (Opl/scll/ilm p.127)
his Musurgia, the ternl , like a number of other figures adopted from Quid est Homioptoton? Est, cum gene What is homiop/oton? It occurs when a
ralis pausa atque nota vel semibrevis vel general pause is simultaneously inserted
Thuringus, is not included in his figure definitions found in Libel' 8. in all the voices of the composition
minima vel semiminima cantioni in om-
Instead, Kircher defines pausa and slenasnllls!suspiralls as figure s of nibus vocibus situlll inseritur. Hac figura through umibrevis. minima. or umimi-
silence. The rhetorical definition given to homoioproton is similar to that !tali & Galli ill Choreis, Galiardis.. Madri- nima rests. The Italians and French fre-
galis. Passamezis. Canzonenis, Couranti, quently use this figure in choruses, galli-
of epiphoraJepistrophe, tenns which then replace homoioprofol1 in the
Sallcnen. AutT:dlgen, Intraden, Padu- ards. madrigals, passamezzi, canzonetli,
musical FigurenJehre toward the end of the seventeenth cemury. llIlen. &c. crebro utuntur; Recentiores courants, bailetti, AutTzUgen, intradas,
quoque in Dialogis & interrogationibus. paduanas, etc., and contemporary com-
Quintilian (lnsliflltio IX.iii. 77ff.) Veleres quasi attentionem excitatur ill posers in dialogues and in questions. Pre-
Secundum, ut clausula similiter cadat, Second. it occurs when clauses end simi- motetis hanc figuram adhibuerunt. vious composers employed this figure in
syUabis iisdem in ultimam partem collatis larly, the same syllables hcing placed al motets in order to arouse attention.
vocant 0Jlo\Ot"O,EUtOv similem duarum the end of each one. A similar ending of
serllentiarum vel plurium finem.Tertium two or more sentences is called homoia- Quid est Homioteleuton? Est finale silen- What is homiOIe/ell/on? It is a complete
est, quod in eosdem casus cadit, 0JlOIO- lelellton. Third, when the same case end- tium in medio cantionis. Vel : cum post silence in the middle ofthe composition.
ntwtov dicitur. ing is used. it is called homoiop/oton. cOlllmunem yocum concursum semi- Or it occurs when the harmonia is inter-
brevis aut minimae pausae interventu rupted and a general silence is indicated
Susenbrotus (Epitome p.58) generale silentium indicitur. ac harmonia with semibrevis or minima rests after th e
Similiter cadens 0JlOIOntWtOv, est quan- Simililer codens or homoiopt%fl occurs interrumpitur. voices have run together.
do iisdem casibus dictiones aut sententiae when words or sentences are expressed in
effenmtur, hoc modo: Moerentes, fleren the same case. as in /lfoeremes,jlerellles. Kircher (Mllsurgia L.8, p.145)
les, lachl)'mantes, commiserantes. /achrymames, commiseranles. OJ.lO~o r:tWtOV sive similiter desinens HomoioplO/on or similiter desillens fi -
figura. est periodus harmonica quae simi- gum is a musical passage in which nu-
Similiter desinens 0JlOlOti),EutOV. est Simililer desillens or homoiotelellton oc liter desinit in saepius repetita, adhiberi- merous repetitions are ended similarly. It
quum dictiones vel sententiae simi Iter curs when words or sentenees end simi que solei in seria alicuius rei affinna- is customarily used in a subsequent affir-
exeunt. Ennius Eos deduci, evehi, quam larly. as in the example. tione. negatione, aut increpatione, ut ilIud mation, negation, or emphasis of a cenain
deseri malui. Prenestini (Nos insensati ). thought, as in Palestrina'S Nos insensati.

Gottsched (Redekllnst p.276) lanovka (Cla",s p.SS)

Homoeoteleoton und Homoeoptoton. HomoeoleleOlon and homoeoplalon oc- Simili ter desinens Figura, est periodus The similiter desinem figllra is a musical
wenn man mit den letzlen Sylben, oder cur when one plays with the last syllables harmonica. quae similiter desinit in sac- passage in which numerous repetitions
mit den Fallendungen spielet. or with case endings. pius repet ila. adhiberique solet in seria rei are ended similarly. It is customarily used
alicuius affirmatione, negatione, aut in a subsequenl affimtation, negation, or
Nucius (Musices Poelicae G3') increpalione. ex. gr. in textu; non dimi- emphasis of a thought. as in: "I will not
Quid est Homioteleuton? Cum post com- What is homiolelelilon? It occurs when atam te, donec benedixeris mihi. dismiss you until you have blessed me."
munem vocum concursum Semibrevis the harmUllin is intemlpted and a general
aut minimae Pausae interventu generale silence is indicated with semib"el"s or Walther (Lexicon)
silenlium indicitur ac Hamlonia inter- minima rests after the voices have ru n Aposiopesis heisset in der Music: wenn In music the oposiopesis refers apausa
\0

rumpitur. Hac figura !tali & Galli in together. The Italians and French fre- eine Pausa generalis, oder ein durchgitn- genera/is, or a complete silence in all
Choreis, Galiardis, Madrigalis, Passa- quently use this figure in choruses. galli- giges Stilschweigen in allen Stimmen voices and pans of the composition si-
mezis & simi\jbus crebro utWltUT. Recen- ards. madrigals. passamezzi, and similar lind Panien zugleich vorkommt: welches multaneously. This can occur in two
tiores quoque in Dialogis. & interroga- pieces. and con temporary composers in aufzweyerley An geschehen kan, als: I.) ways: ( 1) through a complete silence in-
tionibus: Vide nostrum Quo celeTas: dialogues and in questions .... Previo us wenn in der Mitte eines StUcks, vennit- dicated by a whole- or half-laC/liS rest in
telst ei ner vorhergehenden final-Cadenz, the middle of a com position following a
298 h}'f)(lflagt hJpallage 299

und drauffolgenden gantun odtt halben Jinofis cadence. wbich is called homoeQ- asfilga conwaria or repercltss io.1In England a fugal inversion is referred
Tact-Pause, dergleichen gemacht wird: ,efeuton ; (2 ) when a similar silence oc-
10 as a re \'el'l.= Henry Peacham the Younger associates the rhetorica l
wc:lchc: Art so darm insonderheit Homo- curs in the middle of a composition
roteleuton heisset. 2.) wenn gleichfalls. through a whole-. half-. or quarter-fact us allfis,rophe with the musical rever(: "Nay. hath not music her figures,
vermitteisl tineT ganlzen. halben. oder rest without a preceding ending or ca- tbe same Hhich rhetoric? What is a revert but her anti strophe? ... her
Viertels-Taci-Pause, ohne abeT dabcy den ce. wh ich is called homoeoploton.
counterchange of points. anthnetabolesT l Peacham's choice of anti-
einm formalen Schlup oder Cadenz zu See 1. Thuringus's Opusculum. part 2,
machen, dergleichen SliIIschweigen an ch.18. strophe for a fugal inversion is an interesting one. It is not the anti-
gebracht wird; diese Gauung heisset sfrophe but rather the al1astrophe which signifies an inversion of word
4
insonderhiet Homoeoptolon . s. Joach. order in rhetoric. 1t seems most likely that Peacham mistakenJy used the
Thuringui Opusc. P.2 c. IS.
closely related term . exchanging the prefix alia for all/; in his definition.
The only musica l reference to antimetabole is also found in Peacham 's
essay. Here he compares the rhetorical figure to contrapuntal inversion,
H OMOIOSIS : see ASSIMIUTIO knO'\ 'l l in England as cOlll1terchal1ge o/parls . which occurs "when the

Principal (that is the thing as it is first made) and the Reply (that is it
HYPALLAGE : an inversion of the fugal theme. which the Principa l. having the parts changed. doth make) are sung,
changing the parts in such manner as the highest part may be made the
The rhetorical hypa/lage is defmed as a certain exchange of parts, either lowest and the lowest part the highesl. '" 'Dte elder Peacham defined Ihe
through substitution (Quintilian) or through inversion (Susenbrotus). allfimetabole as "a fo nne of speech which inverteth a sentence by the
Susenbrotus's understanding of the tenn coincides with Quintilian' s contrary. thus: It bchoveth thee to eale that thou mais! live, and nol to
aflastrophe. Peacham uses both terms to denote an inversion, either of
live that thou maist eate.'16 This fonn of rhetorical inversion is used to
two words, called anaslrophe, or of sentence order, called hypallage. express an opposing thOUght by exchanging the placemenl of the words.
Burmeister chooses the tenn hypal/age to identify a fugal inversion.
Although the literal meaning of this tenn ("exchange") is less specific
than the meaning of anastrophe ("reversal"), through Peacham's defmi - I . In his Lc.Ticmr. Wal ther describesfilgo COI1/l"ario and fi lga inaequa/is mOllls as
tions it becomes apparent that the al1astrophe is limited to two words inversions of the (ugn l subj ect. while filga callcri::un.r signifies a retrograde fonn of the
while the hypallage is applied to the entire sentence. It would therefore subject. Unger' s reference to Jan ovka' s use of the term hypafloge (Beziehungen. 79)
must be cOITtl:ted. It is probabl e that he based his conjecture on a reference by Brandes:
be more appropriate to use the sentence- rather than word-figure in a " Ianovka . .. bezeichnet die Hypallage a1s: Fuga invena seu contraria." (Stl/dien zur
musical application to a fuga l theme. Burmei ster not onJy adopts a mllsikalischen Flg me,lfth,t, II). While Ianovka defin es the inverted/llga. he does not
definition similar to that of Susenbrotus but even uses the same tenninol- use [he ten11 ".Ipallop./!. Brandes neglects to di stingu ish between ternl and defin ition,
apparen tly leading 10 Unger's misunderstanding. Regarding rtpercussio, one of
ogy in hi s definition. Susenbrotus's converso rerum ordine becomes
Matt heson ' s explana tions of the tmn poinlll to its use in identifying the inversion of
converso inlerva/Jorllm ordi" e in Burmeister's Musica Poetica. In inlen'als in a fugal answer. See Repercussia.
addition, the Latin tenn slIbmutatio is also used by both authors. How- 2. "R("\'ert is th e Iterating ofa Point in conlrari MOlion, IJnr Arsin & Thesin ;) the
ever, while the rhetorical figure refers to a linear inversion, the musical Replie moo ving per 7hl1l" in. if the Principal Ascend. and per Arsin, if the Principal
descend:' Ch. Butler. The Principles o/Musik. 72 .
hypallage signifie s a vertical inversion of the intervals rather than a 3. Strunk. S{)III"ce Rf'adings. 337.
retrograde fonn of the juga subject. 4 . The antistruphl' refers to a repeti tion of the same word at the end of severa l
Although the contrapuntal technique of inversion remains a standard Successive phrases. nlso known as epiphora or epi.ftl"ophe (Sormino, Handbook, 63). See
also t:p'l'lw"(1 (S u~ell b rOIU S).
device in the Baroque art ofjuga, the tenn hypallage is not encountered 5. Tho mas More ly. A Plaine and Easie J"'I"odlictiofl to Practicall Musicke
again. Instead, authors use specific qualifying descriptions ofj uga, such (London. 1597; new ed .. New York: Norton. 1952). 188.
6. Garden o/ Eloqllellce, 164.
300 hJpaflage hyperbatoll 301

Likewise. the contrapWltal exchange results in a musical passage which HVPERBATON: a transfer of notes or phrases from their nonnal
asswnes an opposite identity, albeit in a different sense from a linguistic placement to a different location.
opposite. Such a fugal inversion is also described in Scheibe's definition
of hyperbaton: "when one works with more than one voice and ex- The teml h)perbaton (like its counterpart, hypobaton) is used in music
changes the location in which the particular voices nonnally appear." theory prior to its adoption as a musical-rhetorical figure. In describing
two-part counterpoint, lanovka defines the upper voice-be it the subject
QuintiJian (lnslitul io VlII.vi.23, 65) or the countersubject- as hyperballls, while the lower voice is called
Nee procul ab hoc genere discedit meto- The melonymia is related to (the synec-
nyrnia. quae est nominis pro nomine doche] and consists of a substitution of hypobatllS. In thus defining the relationship between the two voices, he
positio. sed, ut ait Cicero. hypallagen rilC- one name for another. As Cicero tells us. retains the literal meaning of the terms, namely the "overpassing"
tores di cunl. Verum id cum in duobus rhetoricians call this h)pal/age. When (hyperbatlls, supergradiens) or "underpassing" (hypobatus, infra-
verbis fit. (h'o:o'tpo\il dicitur. reversio this [tran sg ression. h)perb%n] affects
quaedam. two words. it is called anas/raphe, which gradiens) of one voice in relation to the other.
signifies their reversal. JIyperbawn enters the musical Figllrenlehre in Scheibe's Critischer
MIiSicllS, the only source where it is specifically mentioned as a musical-
Susenbrotus (Epitome p.36)
HypaUage lll'ta).}.ayT1 est quoties oratio 111 C hypallageoccurs when the oration is rhetorical figure. Rather than adopting the established musical-theoreti-
converso rerum ordine profertur. Laline advanced through a reversed order of cal defInition of the tenn, Scheibe adapts Gottsched's rhetorical defini-
Submutatio sive subaltematio. things. In Latin this is knowlJ as mb- tion. The rhetorical transfer of a word or thought from its natural location
nlll/afio or mba/remel/io.
is applied to the transfer of a note or a phrase from its natural location
Peacham (Garden oj E/oqllence F3', Gi') to another. In the fIrst case, "namely when a note which belongs in a
Anastrophe, a preposterous order, or a higher voice is set in a lower one, or when a note which belongs in a
backward sening of wordes.
Hypal\age, when a sentence is sayde with
lower voice is set in a higher one," the definition of hyperbaton coin-
a contrary order ofwordes. cides both with Bemhard's hererolepsis as well as Mattheson's example
of a parenthesis. which signify similar note displacements. However,
Bunneister (H)pomnemall/m)
TIle h)pol/age is an inversion ofthefilga.
while Bemhard is primarily concerned with a proper use of dissonance,
Hypallage est Fugae submutatio.
Scheibe's interest focuses on affective expression through a dramatic
Bunneister (All/sica Poelica p.58) relocation of words, notes, or phrases. Forkel also mentions the use of
Hypal1age est quando Fuga converso The hJ11OI/oge occurs whell ajllga intro-
intervallorum ordine introducitur. duces an inverted order of the intervals. the VersetzlIl1g, the tenn which Scheibe used to translate hyperbatol1,
now in connection with the musical distriblltio instead of the musical-
rhetorical figures. J Rather than explaining its use, Forkel simply states
that ;'the Verset=lIllgen are easily understood"~ before going on to discuss
his interpretation of the individualization of general musical sentiments.

Quintilian (/lIslilllfio VIIl.vi.62, 65)

Hyperbaton quoque. id est verbi trans- H)perba/on is the transpositIOn of a
gressionem . . . . At cum decoris gratia word .... But only when this is a far reo
-
I . Unger's conjecture that the h)perba/o" i mentioned as a figure by Forkel
(Be=iehlmgen. 152 ) must therefore be revised.
2. "Was Versetzungen sind, lapt sich leicht begreifen." Al/eKemine Gesehieh/e, 52.
 h)'pel"bolf.' 303
302 h)'pl!rba/on

traiicituf longiu5 verbum, propric hyper- moved transposilion for the sake of orna_ SI:S tragt sidl sehr oft in Fugen zu. ... with lmusual interjections. eventuall y 10
bati ten et nonien. ment can il properly be called a hyptr_ Die Vl.'rst'"t zung geschi eht auch in Arien_ return. however. in ils Imaltered form in
bu/on. \\"ClUlluan die Folge der nalOrlichen Me- another location. There is yet another
lodie ,cranden. und die gewOlmliche WI d fonn of th is fi gure which affects the
Sustnbrotus (Epitome p.33) schon vOIa usgesetzle Folge derselben words of the aria themselves. The poetic
Hyperbaton. vnippato\' Transgressio. The h)lJl!rba/on or /rallSgreSJio OCCur s \"en.eehsei! . und sic durch ullgewohn- arrangemCIlI and order of the words can
es t cum diction um clausularunlYt leg;- when the proper order of the words or liche Zwi~chcn ~litze unlerbricht. die or- be al tered in such fash ion thai a word
ti mus ordo ;nunutatur, clauses is altered. dent lic hcn Satze aber an ei nem andem which is the focus of the entire text is
Orte Ull\ ermerk l wieder anbringt. Man transferTed from its ordinary location to
Goctsched ( D ichtfnms/ p.32 ! ) hal aueh noch eine andere Gattung dieser another place... . Regarding the dis/ri-
Die VI. ist die Versetzung (H),perbaton) The next figure is the tran sference Figur. weichI.' mit den Worten einer Arie b",io of the text. the hyperbaton is one of
cines Worts oder Gedanken s von seiner (nyperbaIOlT) of a word or thought from seibsl geschieht Man verAndert nllmlich the 1lI0S1 pleasing figures and is excep-
natUrl ichen Stelle: die aher nichl aus der its natural position. This occurs not be- die poetischc EillrichtWlg und Folge der tionall y appropriate for a clear and em-
Unfllhigkeil des Pocten. sondem aus der cause of the incompeten ce of the poet but selben al so. da p man ein Won. auf wei phatic e.x pression of the words as well as
Heftigkeit des Affects henilhret, der dem rather out of the vehemence of the affec_ cill.'S sich J ie ganze Rede bezieht. von for the arou sal of the affections.
GenlUthe ni eh! Zei t IIlPI, an die ordent- tion. wh ich does not al low sufficient tim e seiner gewilhnlichen Stelle an einen an-
liehe Wortftlgung zu denken. 10 consider proper word order. dem Ort ..erselzet . . .. In Ansehung dcr
lcrglil.'dcrung ci nes Textes ist die Venet-
Janovka (Clovis pJ I ) zung eine dl.'r schtinsten Figuren. und
Alius eSt contrnpunctus rolus, aUus repli- The con/rapzmc/us is either soills or ZUIll versHirldlichen und nachdri.lcklichen

caluS. Solus itemm duplex: vel mim replica/us . COIT/rapzmc/IIS SoillS is also of Ausdrucke desselben, wie auch zllr Er-
ponitur supra Subjectum, & tunc Hyper- two kinds. The con/rapllnc/us is placed regung def A/Teeten au f das vort reff-
batus, id cSt supergradiens vocatur: vel either above the slIbjec/um . in whi ch case li chslC geschickl.
infra subjectum procedil, & IUlle Hypo- it is called hyperba/us. that is, proceeding
ballls. seu infragradiens dicilUr. Sub- above. or below Ihe slIbjectllm . in wh ich For kel (C<'schicn/c der MI4Sik p.54)
j ectum vero in priori Hypobarum. in pos- case il is called hypobatus. that is. pro- Man mull aber die eigentlichen con tra- However. genuine contra puntal artistry.
terior Hyperbatum nuncupatur. ceeding below. Subsequently the first punktistischen Kfinste ni ch t m;t selchen whi ch COllcerns itself with th e modifica-
would have a subjectum hypobotus and Spielwerken "erweehseln, die 5ich niclll tion of erui re thoughts and passages rath-
the sc<x>nd a subjecfllm nyperbo/u.s. mit eillzehll.'n Buchslabcn und Worten. er than Wilh individual letten and words,
sonden! mit der Modifica tion ganzer mUSI nOI be confused wit h such trifl es.
Scheibe (Crifischer MIUiclU p.688) Gedankl.'n lind S lilze beschliffligen . Wet Who. for example. would regard such
Die IVle Figur kann die Verseuung The next figure is the transference or wi rd z.B. di e I..n vers ion in det Sprache. lingui stic invenions. th rough which an
(Hype:rbaton) seyn. Sie geschiehl. wenn n}pl!rbalon. II occ urs when either a note wod urch ei n ganzer Salz aus sei ner entire sen tence is moved from its nonnal
man entweder einm Ton. oder auch einm or an entire thought is tnnsferred from its gewohnlichl.'n Stelle genonl/nen. und an place 10 another, as a triviality? The vast
ganzen Gedanken voo seiner natOrlichen natural position 10 a differenl one. In th e eine andere gestelll wird, fU r ein Spiel- majorit), of artist ic contrapuntal devices
Stelle An einm IlIldem Ort venetzet. 1m first case it agrees wilh the harmoni c ex- wetk Halten? Fast die meisten con tra are grounded on similar inversions of
erslem Faile kOnunt sie mil der Ver- change. namely when a nole which be- punktistischl.'l1 KOnste grUnden sich auf musical ideas an d are therefore not to be
wechselung der Hannonie iiberein. wenn longs in a higher voice is set in a lower eine solehe Inversion musikalischer regarded as trivialities or useless exer-
mM nllmlich elnm Ton, del" in dne h5- one, or when a note whi ch belong.s in a Gedan ken. \lnd sind daher in der Musik cises any more in music than inversions
here Stimme geh/:lret , in cine nioori ge lower voice is set in a higher one . ... eben 50 wenig flir Spielwerke. oder Un- arc in rhetoric, given that in both cases
setzer. odcr auch. wenn man einen Ton, Regarding an entire thought, thi s figu re niitzen Schl1!zwang zu halten. als die In- th ey are not abused.
der in cine niedrige Stimme geh/:lre!, in occurs when one works with more th an version ill dcr Sprache. weon beyde nicht
cine hl:lhe re Slimme setzet .. .. In An- one voice and exchanges the location gellliBbraudn werden.
schung einer ganzen Gedanke aber ge- in which the particular vo ices nonn all y
schieht die se Figm, wenn man milmehr appear. This frequCfltly occurs in fugue s.
Stimmen. als mit einer Stimme arbeitel _ ... The hypl!rba/on also occurs in arias
und man ver!tl1den die Siellen _welche in when the order of the normal melody is
H YPERBOI.E, HYPOBOLE: a transgression o f the range or ambitus
die se Slimme geh/:lren. dap sie in eine altered. its famil iar and precedi ng pro-
andere Stimme zu Slehen kommen. Die- gression being modified and interrupted of a modus .
304 hyperbole 305

Bunneister's hyperbole and hypobole illustrate his intention to provide "be considered as some of the most expressive ones. ,,1
familiar musical devices with rhetorical terminology, even if the aCCom_ 1. A. Herbst also suggests a connection between the musical-rhetori-
panying rhetorical definitions arc not applicable. Here once more i\ is cal figure s and the transgression of a mode 's range. He associates the
the literal meaning of the tenns which determines his choice of names. onlaments ""'lich otbers considered to bejigurae principales, namely
The musical hyper- (over) bole (throw) oversteps the upper termil1l1s or fuga and sYllcopario in addition to the cadence. with the chromaticism
boundary of a mode's ambitus or range rather than the bowldaries of which results from exceeding the mode's ambitus: "The colores in music
truthfulness. The opposite rhetorical figure, called litotes (simplicity or are various kinds of fugues, suspensions, and gracious cadences, which,
modesty), is clearly not a suitable term for the opposite musical figure. like pleasant phrases, assume and adopt notes above and below the
Bunneister coins the related tenn . hypo- (under) bole, to signify a pro- natural and proper ones belonging to that modus or tonlls.,,2 Herbst later
gression which exceeds the lowest ferminlls ofa mode's ambitus. Just clarifies this in his discussion of the modes. After defining the term
in case the reader misses the relationship between the two terms, Bur- ambitus, he proceeds to discuss a transgression of the mode's ambilus.
meister points to their contrary conlent. He calls trus device licenlia,l a familiar rhetorical figure meaning free-
Burmeister's concept of the figures is based on ornamental devia- dom (of speech), used to either flatter someone or to understate a dis-
tions from the simple ralio of musical composition. The ambitus in his agreeable or abhorrent thought in such fashion that it becomes palatable. 4
definitions refers to the range of a composition's corresponding modus. I As such, the licentia is very similar to hyperbole. s
The transgression of a mode"s ambiIIIs was a well-established text- A further musical-rhetorical reference to the transgression of a
expressive compositional device in the sixteenth ccnnlry. Indeed. Eucha- mode's ambitus is encountered under Bernhard's mlllatio toni. This he
rius Hoffmann uses the rhetorical tenns redundanfia 2 and ellipsis l in his
description of the device. Rather than being simply a technical proce-
dure, it is considered effective in portraying particularly "wlheard of, I. Ruhnke, BIII'meister, 158.
monstrous, and abhorrently unnatural" thoughts. 5 While Bunneister does 2. "CoJores 5e~r1ld in det Music mancherley Art von Fugen, Syncopationen,
liebliche Clausulen Wid Cadentien, welche gleichsam schlSne Phrases seyn I so ein jeder
not explicitly mention the affective potential of these figures, they can Modus oder Tonus. nehen seinen natUrlichen und rechtmllssigen Clausulen drUber und
dnmter assllmil1 und annimme." Herbst, Musica poelica. 5.
3. The iicelllia is also known as parrhesia, a teon which appears in the
Figurenlehl"en of Burmeister. Thuringus. and in Walther's Lexicon. It signifies the
addition of various kinds of dissonances to a consonant setting. Bunneister lists another
1. Burmeister, Musica poetica. 41. See also Ruhnke. Burmeistel". 158. Both figure. the pathopoeio. as a device used to insen notes into a composition which do not
Brandes (SlIIdien ZI/I" mllsikafischen Figlll"enfehre. p.18) and Unger (Heziehungell. 80) belong to the modus. But whereas the h)per- and hypobole introduce notes which
erroneously understand ambillls and lerminlls as references to the upper and lower staff exceed the range of the mode, the pathopoeia adds notes which belong " neither to the
lines. thereby explaining the figure as a purely superficial device in which a composer modus or the genus of the composition." (See Pathopoeia.) As such, the palhopoeia is
resorts 10 ledger lines inslead of staying within the lines of Ihe staff. closer to the p0/7hesia. both being devices used to introduce dissonances.
2. RedzlI1dantia is also known as pfeollosmzu. and indicates an overabundance or 4. Sonnino. Handbook, 127.
superfluity of words. Sonnino. Halldb aok. 156. 5. Bernhard links Ihe term licentia to the general use of dissonance. In the context
3. The later musical definition of eflips;s in the context ofBemhard's Figurenfehl"e of his Figllren/ehre, which concerns itself chiefly with the proper use of dissonance, he
stands much closer to the tenn's rhetorical understanding. See Effipsis. therefore equates the musical-rhetorical figures with Ucentia . This is clarified in his
4. Ruhnke. Burmeister. 137. Although Hoffmann does not develop a systematic introductory description oflhe modern cantrapunctus {'lXudanl, "welcher aus . . . mehr
concept of musical-rhetorical figures. his use of rhetorical tenninolog)' makes the Men des Gebrauchs deter Dissonantzen (oder mehr Figuris Melopoeticis welche andere
analogy between the two disciplines quite obvious. Licentias nennen) .. . besteht" (TracfOtus. 42f.). In his introduction to the figures used
5. Thuringus, Opllsclllllm, 90. For a thorough and enlightening discussion of thi s in the styflls /u:!1Irians. he reiterates this thought: "Die andere Species Styli inaequalis
device, see Siegfried Meyer, "Abweichungen von den Nonnen eines Modus als Mittel iSI luxurians. welche ieh so nenne wegen derer vielerley Men des Gebrauchs derer
der WOl1ausdeutung," Mmica Discipfino 42 (1988): 199-215; also Bernhard Meier, H,e Dissonantzen. welche andere Licentias nennen. weilen sie mit denen vorgemeldeten
Modes a/Classical Vocal Polyphony (New York: Broude Brothers. 1988). Figuris nicht seheinen entschuldiget zu werden." Ibid. , 71.
306 hyperbole 307

eine Verkleinenmg des Dinges, davon die a diminution of th e item under discus
lists as onc of thc figures used in the stylus luxu,.ians (communis), In hi s
Rede isl. Sit' agen also entweder mehr sion. They thereby express either more or
defmition of this figure, he refers ahead to the chapters dealing specifi_ oder we niger. als in der Thai wallr ist. less than in fact is truthful and therefore
cally with the modes and their various alterations. After defining modus lind be51ehen also allemal aus e;ner Un- consist of an untruth. However. it is not
wahrheit Doeh isl die Absicht dabey thei r intention to deceive the liSienen or
(or tonus) and ambitus, Bernhard points out that some voices either do
!lit ht. dil' Zuhorcor zu betrUgen. oder in to lead them astray.
not fulfill the modus, which he calls modus deficiens, or exceed the IrrdlUm zu stii rzm.
mode' s ambitlLs. which he calls modus superfluus: "Modus superflulls
occurs when the octave [i.e . the eight notes of the ambitus) is exceeded BunneiSler (lil pomnematllm)
H)'pl"rbolc tum lit quando Melodia lenni The hyperbole occurs when the meiodia
by either a second or a third above or below the ambitus."1 Later he lists nos suos cxcedil. exceeds iu boundaries.
various further alterations or exceptions to the modes, including con-
sociatio modi (the combination of an authentic mode with its plagal Burmeister ( .I!lIIfica Poetico p.64)
Hyperboku npl}o.l.Tj est Melodiae supra The hY/Nrbofe is an overstepping of the
counterpart; should only the tenor cantusfirmus venture into the related suprem um eills terminum superl atio. melodia beyond its uppermost lerminllm
mode, it is teoned mixlio modI), extensio modi (which allows the points Exemplmll est in Orlandi Benedicam ad (boundaryj . An example is found in Or-
ofimitation to begin on any degree of the modus in addition to theflnalis lexlUm : Semper laus ejus. Considerelur lando's Benedieom at the text: semper
ejus Hannoniae VOl( Bassus. lam ej lls. The bass voice of the composi-
and dominant. thereby leading to an "extension" of not only the mode lion will be c)(amined here:
but also the composition), and alteratio modi (a composition beginning

W' -
in one mode and ending in another).2 None of these variations or alter- o
j ., II

ations involve the specific use of dissonance, explaining why Bernhard

discusses the "mutations" under the modes rather than the figure s, and
r f'
sem per laus
IT
e.
Fjus I, o-feme - o
II
why they are omitted altogether in his later Bericht.
HYPooole l> l'W po.l.Tj est Melodiae infra The h.11)obale is an understepping of the
ejus infimum AmbituSItn1linum 5ubjec- metod/a IUlder the lowest lerminllm of the
Quintilian (brstitutio VIII.vi.67) tio.. .. Und e colligitur omamentum hoc ambitlls . . . . As is apparent. this figure is
Hyperbolen audacioris omatus summo I have kept the hyperbole for the end be- contrarium esse Hyperbole. opposite 10 Ihe hJperboie.
loco posui. Est haec d~ens veri super cause of its botd nature. It is an accept
iectio . able overstatement of the truth.

Susenbrotus (Epi/onle p.18)

Hyperbole unEpl}ol. rj est cum dictio vel The h}pubole occun when the words or
HYPOll'T'OS IS: a vivid musica l representation of images found in the
oratio fidem excendens augendi minuen- oration ellceed the truth for the sake of accompanying text.
dive gratia ponitur. Mancinellus: Trans- over- or understatement. According to
census veri manifestus Hyperbola fiet. Mancinellus_ I transgression of the actual
The hypolJ posis is given the same lask in music as in rhetoric: to vividly
Superlalio. dementiens superiectio, truth occurs through the hyperbole. It is
Eminentia et Excessu5 etiam appellata. also called superialio, demenljens super- and reali stically illustrate a thought or imagc found in the text. As such
jecliu. eminentia. or UCesSILf. it might e\'cn be considered the most important and common text-expres-
sive composi tional device of Baroque Illllsic, for it is lIlusica poetica's
Gotlsched (Redekunst p.2!52)
Endlich werden zur Synecdoche Ruch And finally the hyperbole and the Ii/ ote mandate to delight and move Ihe listener through a musical presentation
noeh die Hyperbole, und Litote gera:h- are considered forms of the synecdoche. Oflbe text. Such musical word painting becomes a hallmark of Baroque
net. Jene ist eine Vergrosserung diese The fonner is an augmentation. the latter
music. being found in virtually every Baroque voca l composition. Al-
ready Bunneisler laments the fac llhat nol all composers used the device
judiciously. Literally the tenn means an imitation or reproduction. from
I . Bernhard, T,aclalIl5. ch.4 4. 9 1.
hypo. "under" (re-): typosis. "fonn, construct. ' Both music and rhetoric
2. See Mutatio Toni for Bernhard's complete text.
308 hypotypruis 309

use thi s fi gure to reflect an image rather than to express an affection . hyp0f)posis is an image of an idea. homoiosis recreates the idea itself.
While Bunnei ster lists hypotyposis as a figure which reflects images. The tenll hypotyposis is encountered once more in Vogt 's Conclave.
it is his pathopoeia which is 10 be used to musically express the affec- Vog1 does not include it in his list of figures but rather uses the term to
tions. 1 Neither Nudus nor Thuringus include hypOlyposis in their enerall\' characterize hi sjigurae ideales. These fi gures are not only to
Figurenlehren. However, appended to his discussion of the figure s. !xpress'lhe aOections but are to present the text 's idea in a lifelike
Nud us includes various lists of words whic h were to be expressed (vil'aeirer) and imaginative (ideali fer) manner. To ~ s end, ~e com~ser
through the music, including affective words as well as words motion. or is to use /t)"pof)'[JOsis and prosopopoeia figures. With these mstructlOns
place, time, and number.l A similar and expanded list also appears in Vogt typifies his category ofjigurae ideales. The plural formulation of
Herbst' s Mu.sica Poelica,l The list of words to be musically illustrated figurae hypothiposeos suggests an entire class o f such figures . This
in Daniel Speer' s treati se at the close of the seventeenth century is understand ing is supported by Vogt's earlier definition of idea mllsica
almost double the size ofNucius's list.4 as "that which is portrayed through hypotyposis figure s." Music and
In the two listings of figures in his Mlisurgia, Kircher includes words are to work together in a vivid representation of the toea ("that
similar figure s. The list of undefined figures in Liber 5 is taken from which is seen") of the text, using hypotyposeosfigurae ideales.
Thuringus's Opusculum with very few changes. Only Thuringus' s Although only Burmeister explicitly includes hypotyposis in his li st
pathopoeia is replaced with prosopopoeia, a rhetorical figure which is of musical-rhetorical figures, virtually all other musical-rhetorical figure s
used to give inanimate objects life, or mute things fi ctitious personalities. can be used as forms o f hypotyposis, as suggested by Vogt. In fact, most
or deceased or absent persons a voice. s In his li st o f defined figure s in specific text-expressive figure s can be wlderstood as specific fonns of
Liber 5, Kircher includes yet another figure , homoiosis or assimilario. hypotyposis, including the various figure s of silence. Even the ornamen-
Although this figure is very close ly related to the hyporyposis, the tal accentus is understood as a fonn of hypotyposis by Mattheson when
hom%sis is to present the text' s images in actual ity or proprie rather he describes its use by Madame Keiser, who applied it to the word "bell-
than only reflect them videri, as in Burmei ster 's hyporyposis.1> While gen" in such fas hion, "that it almost seemed to become visible, the ears
becoming like eyes.,,1 As musica poelica increasingly emphasizes
graphic and tangible text- and affection-representation. hypotyposis and
I. See Palhopoeia .
2. Thuringus reintroduces Bunneister's palhopoeia and includes a list of affecti ve
palhopoeia are regarded more as principles of composition than specific
WOfds very similar to Nucius' s w!rba aJJeclUlim. fi gures. This explains their limitation to early treatises, even as they
3. See above. under " MId;ca Poe/;ca: An Exprnsioll of Text and Affection," p.2S. remain fundamental to musical composition throughout the Baroque,
4. " Item die folgende WlSner milssen auch mil dem Satz lIbereinkommen als '
Himmel I Erde I hoch I lief I schlecht I recht I gut / btls I gehen I sletten l Iang I kun: I
Quintilian (/lIs(illllio lX.ii.40)
geschwind I oder behend I seufzen I la ufen I jagen I laut I still I ein I 2 I 3 I aile
Ab aliis iHlOrUlttJal1O dicitur proposita Others call h)pOl)posis a presentation of
miteinander I eins urns ander I Kyrie eleison I A1leluja I Amen I immer I ewig I stets I
quaedam fomla reru m ita expressa verbis, a thought which is expressed through Ihe
ruhen I ,pringen I erheben I em iedri gen I aufsteigen / neiderfallen I Aufgang I
ut cerni potins ddeatur quam audin. oration in such fash ion that it is perceived
Niedergang der Sonnen / prllch lig / demfitig I lieblich I rauh / schwarz I wei~ I scharf I
gelind I Abgrund I Berg I bald / wiederurn I abermal l oft / selten I Gott der HlSchste I
as though it were seen rather than heard.
Engel I Mensch I Kindheit / MaJUl I Wieb I Magd I veracht I gering I beschwerlich I
Susenbrotus (Epitome p .90)
zwingen I frei I gebwlden I wenig I ni chts I genug I bIoi} I sch wer / hart I gebrochen I ieh
Hypotiposis UnorU1te.H" I9. eSI qu ando HypOfJPosis occuJ;. when a person. thillg.
harre I ich rede I verfolge I nachfolgen I na che ilen I wiederkehren oder wiederkollllllen:
peTsona. re s. locus, tempus, alit alilld location. time. or anything similar is de
salehe und dergleiehen vorkommende Text und Warter milssen wohl observieret und mit
quidpiaJll tum scribcndo tum dicendo ita picted through wrinen or oral exp ression
der Harmonie oder mit dem Satze ilbereinkommende komponicrt werden." Speer.
Vierjaches m usilwlisches KJeeb/all. p.2S3; cited in Unger. Be: iehu/lgen, 38.
5. SOllnino. HQ/ldboolc. 54.
6. See Assimilatio. I. S Accel1/11s (Mattheson).
310 hypolyposis inchoalio imper/(!Cla 3 11

verbis exprimitur. ut cerni polius ae co- in such fashion that it is perceived as Vogt (Conc/"," p .S)
ram geri. quam ]egi. quam ludiri vide- though the described person was present Idea musica. imago fei dccal11atae. Idea The idea mllsico is the musical represen-
lIur. Haec etiam Energia. Evidentia. or the event was personally eltpericnced haec idem. quod eff ectus fi gurae hypo- tation of something. The idea is namel y
lIIustratio. Suffiguratto. Demonstratio. This is aho called Inergio, eIJidentiO, if. thiposeos that ..... hich is portrayed through hJpo-
Descriptio. Effietio. Subie<:lio sub oculos /ustraJio. s uffigurolto, demO/'lstro/l o, des. tJposis figures.
appellatur. Hoc schema ad orationis criptio, effictio, subiectio sub oculos. It
evidentiam, ad iucunditatem. ad quos- is employed to clarify and embellish the Vogt (COIlrlme p.i "" )
cunque etiam affectus movendus confert. oration as well as to move the affections. Debe! es~ ideosus. &. quodammodo pic- [The composer) ought to understand how
tor. ul seial per fig uras musica$ RIle- 10 furt her intensify (the composition)
Gonsched (Redekllnsl 1'.28]) toricas hypolyposes. &. prosopopaeias imaginatively through the musical-thttor-
Hypotyposis s. descriptio. Darinn man Hypolyposis or descrip/io. Through idealiter d e\'are ampli us. ac res puJchras, ieal figures of hypo(\posis and prosopo-
cine ausfilhrlie:he Abbildung Yon eiDer which one provides a detailed description vel horridas cantu vh ac-ller 8nle oculo! poeia and. like a paimer. place the beau
Sache glebt. WId sic dem ZuMrer g1eich- of something, seemingly painting it be- audienliulll propone-re. tiful or frightful images lifelike before the
sam vor AugCTl malet. fore the eyes of the listener. eyes of the listeners through the music.

Gottsched (Dichlklmsl 1'.327)

Die XII. Figur kann auf deutsch ci ne The ne1 figure can be translated as a de.
Schilderung (Hypotyposis 5. Icon) heis- piction (h}potYPOlis or icon), be<:ause it IMlTA TIO; see MIMr:SIS
sen, wei] sic einen 50 lebhaften AbriP presents such a lifelike por1rayal of some.
von eiDer Saehe macht, als ob sic wirk thing that it actually seems to be present.
lith vorhanden wAre. I NCHOATIO [i\.1PERFECTA: an om ission of the opening consonance
in the melody which is supplied by the basso continuo realization.
Burmeister (Hypomnematum )
Hypotyposis est textus ilia explicatio. qua Hypot)pruis is an e"plication of th e te"t
quae a ~uxa sunt, videantur l ~.uxa ad through which lifeless things are clarified The fact that this figure is encmmtered only in Bernhard 's Figurenleltre
oculurn statuta, vel deumbrata. and appear to come ali ve before the eyes. is explained through his unique interest to identify all conceivable
permi ssible uses of di ssonance through his musica l-rhetorical figures.
Bunneister (Musica Poe/ico 1'.62)
Hypotyposis est iIIud omamentum. quo HypOl}posis is a figure through wh ich the
However, Wllike the ellipsis, which also signifies an omitted consonance,
te"tus significatio ita deumbratur, UI ea, meaning of the text is clarified in such the il1choGlio impelfecla does not identify an otherwise unexcused
quae telClui subsunt &. animam vitamque Cashion that those ..... ords without Ijfe or dissonance but rather on ly an irregular or imperjecta beginning o f the
non habent, vita esse praedita, videantur. spirit of the underlying te"t appear 10
composition (il1chootio. from il1cohare. to start, to begin an oration). In
Hoc omamentum usitat issimum est apud have been gi ven life. This figure is most
authentic:os Artifices. Utinam eadem dex- commonly used by real artists. 0 that it tbe case of the ellips is. the omitted consonance is followed by a di sso-
tentate ab omn ibus adhiberetur Compo- were applied. skillfuUy by aUcomposers! nance, which is explained as a passing note or suspension related to the
nistis.
tacitly understood preceding omission. 1 In contrast, the omitted conso-
nance o f an illchoatio ;mperjeCIQ is suppl ied by the realized basso
continuo accompaniment and has nothing to do with resultant disso-
~an ces. For this reason. presumably, Ihe il/choatio imperjecta is not
hsted as a figure in Bemhard's Bericht, whil e the ellipsis is included in
lhis later version of hi s Figuren/elire.

I. See Ellipsis.
312 inlerrogotio Interrogafio 313

Bernhard (TractafllS p.79)

Dialogis & interrogationibus).' Kircher. who adopts a great deal of
Eodem Capite ( 11] ist gesagt dap die In chapter 1. II. it was staled that a
Perfectae anheben ~lIen, welches auch composition is 10 begin with perfect con Thuringus' s Figurenlehre, redefines honroioptoton with a defmition
heule niche so rigarose erfordert wi ld. da- sonances, 5Onu~thing which is nOI as rig. much closer to its rhetorical counterpart. In his description of the p<rllsa.
her enlstehet Inchoatio imperfecta . .. . orausi), enforced nowadays, ghinS ri se 10
be express ly includes its potential to express a question as well as a
8eydc diese ietzlem Figurm. als lncho- the inchoolio imperfu/a . ... Both of
atio imperfecta und Longinqua distantia Ihese figures. the inchoo/io imperf ec/o response, a property of the pallsa not mentioned by Thuringus.l Bern-
werden wegen des GmtTai Bapes zuge- and the longinqua diJ/amia. are pennil. hard's reference to a musical rendering ofa question in the text can in
i.pen, indem der Organist Uber den led through the Ihotough bass. because fact be understood as a musical-rhetorical figure . It appears in the con-
fUrgegebenen Bap wo tS mOglich tin Ihe organist is to playa proper four-pan
richtiges Quatuor schlagen soli, daher hannony at)(we Ihe given bass whenever text of his discussion of the figures at the point where he introduces the
dmn die am Anfange der Composition possible. The omitted perfect conso- figures used in the stylus theatralis or recitalivlIS. 1 Mattbeson discusses
ausgeJa(1enen perfecta von dem Organis. nances althe beginning of the composi. the musical question at some length in his chapter Von den Ab- lind
ten crsetzet wid durch seine Mittel-Par- tion are Ihereby supplied by the organist.
theyen die hohe Stiffilne der Conlposition and the high \'Oice of the composition is Einschllittell der Klang-Rede, where he discusses the sections and
mit dem liefi'en Bape dergestalt vtnnittelt connected with the low bass through th e caesurae of the musical oration. Moreover. the title and content of this
wild, dap das Gehllr dadurch die weite organist's middle voices, in such fashion chapter point to the eighteenth-century intention to develop an under-
Dislantz nicht so 5ehr observiret. that the ear does not notice th e great dis-
tance between them quite as much. standing of the figures which parallels the rhetorical discipline, even
though the respective musical devices and methods had long since been
established compositional tools. It is in this same chapter, immediately
following the discussion of the question, that Mattheson treats the
[NCREMENTUM : see AUXESIS
musical exclamatio, signified by yet another punctuation mark. This
device he in fac t later lists as a musical-rhetorical figure.~
iNTERROGA no:a musical question rendered variously through
Scheibe fmally assigns the rhetorical tenn to the musical device. In
pauses, a rise at the end of the phrase or melody, or through imperfect
addition to expressing the given text, Scheibe also points to the illlerro-
or phrygian cadences.
gatio's use in purely instnunental music. He understands the interrogatio
in much broader terms, applying its use to consequent and subsequent
"After all, who does not recognize the necessity and charm of the ques-
phrases. Furthermore, an imperfect or half cadence \vhich terminates a
tion in all musical compositions?" With this rhetorical question Scheibe
slow movement, thereby posing the imerrogalio, can be answered most
ends his discussion of the i11lerrogatio. Although the musical i11ler-
effectively by a following fast movement. Thus the interrogatio can be
rogatio is not mentioned specifically in the various Figureniehren until
applied to passages within a phrase. to entire phrases, or indeed to \vhole
well into the eighteenth century. evidence of the musical representation
movements. Scheibe's discussion of the figure is an en1ightening exam
of a question can already be found in Gregorian chant. 1 in discussing
pie of the transfer of a musical-rhetorical figure ' s semantic significance,
cadences, Seth Calvi sius suggests the use of an imperfect cadence ending
on the dominant to express a question. 2 The earliest reference to the
musical expression of a question in a Figurenlehre is encountered in
I. See Homoioplololl.
Thurlngus's definition of homoioptofon, where he mentions that contem-
2. See Pausa.
porary composers use the general pause in dialogues and questions (in 3. After slaling that the composer is to ensure "'hat the text is to be most naturally
expressed"' ("dap man die Rede aurs nattlrlichSle exprimiren solie''), Bernhard elaborate<;
this by describing various musical devices which concur with musical-rhetori cal figures
found in other Figurenlf!hrf!n. including the description of such figures as anabasis,
1. Unger. 8e:iehullgen. 21f. calabasiJ. h)1JOfypruis, repe/itio. and grada/io.
2. Ibid .. 31. 4. See Exc/amOlio.
314 inlerrogatio imen-oga/io 315

which was gained through its specific text association, not only to purely deme! werden . [olgen nun in ordentli- are now 10 be considered. Th e questions
chef Tktrach lung. und sind entweder can be either actual or figurative . Many
instnunental music but to larger musical-compositional structures. eigen tlkh odeT verbliimt. Viele Setzer composers are convinced thaI a queslion
stehen stciff in den Gedancken. es mUsse mark call only be e:o;:pressed in vocal mu-
Quintilian (Inslilulio IX.ii .6) das Fragzeichl'll not hwendig allemahl im sic th ro ugh a ra ising of the voice in one
Quid enim tam commune quam inter- And what is mOle common than to ask or Singen. durch cine odeT andre Erhtihung fonn or other. But this should not be COIl-
rogare vel percontari? Nam utroque uti- inquire? For both terms are used simi- der Stimme . ausgedruckl werden; abeT sidered infallible. It is true that in com-
mur indifferenter, quanquam allerum larly, although one is used for the sake of man darff solchen Ausspruch keines mon speech the raising of the voice al a
noscendi, alterum arguendi gratia videtur inquiring, the other for proving a point. Weges fur unfchlbar halten. Zwar is! in question is more or less a given. But
adhiberi. At ea res, utrocunque dicitur But nonetheless. which ever term is used, gemeiner Rede lUld Aussprache die Erhe- there are many circumstances specifically
modo, etiam multiplex habet schema. that which it represents admits numerous bUllg der Stimme iedernit bey einer in music which not only allow for excep-
figures . Frage ml'hr odeT weniger vennacht; allem tions to the rul e but often require them.
in def Melodic gib! es vi ele Umstlinde, Funhennore. figurative questions are fre-
Susenbrotus (Epitome p.60) die hierunter cine Ausnahm nieh! nUT quently encountered in poetry, leaving no
Interrogatio diducitur in Simplicem el The illlerrogalio is classified as either a zulassen. sondem om erbeischen. Uiber doubt whether or not they should be
Figuratam. Simplex est, quae SOlll, seisd- simple or a figurative question. The sim- dis trim lIlan viele figiirliche Fragen in treated in this way. Doubt is the true sign
landi ac a respondente discendi gratia, ple inlerrogalio is only used for the sake Versen an. dabey gar ketn Zweifel vor of an actual question. Therefore the com-
cum spiritu quodam interrogantis pro- of inquiring and obl:aining a response, in w~!tet. obs so. ode r anders sey. Der Zwei poser must clearly distinguish between
fertur. Figurata vero, quae sciscitandi the spirit of its use. The figurative imer- fe l aber ist das wahre Kennzeichen einer the two fonns of the question, and com-
gratia non assumitur, sed peroontando rogatio, however, is nor used for the sake eigcnt lichen Frage. DeTohalben mu~ ein pose his music accordingly .. . and to
variis sCTVit aH'eclibus. Asseverationi, of inquiring but helps to strengthen vari- Olelodischer Setzer die eine von der an th is should be added, that imperfect con-
Oliseralioni, instantiae, indignationi, ad- ous affections through questioning, such dem bitlig wo l unterscheiden, und dar sonances are most suitable [in expressing
mirationi, dubilationi, quae Fab. exacte as affections of vehement assertion, pity, nach seine Noten ci nrichlen . . . welcher a doubting que stion without raising the
persequitur. perseverance, indignation, admiration, al hie nO<.:h beiw-fiigen stehet: dap die voice at the phrase ending], for example.
and doubt, which Fabius (QuintilianJ has un voli kumm ene n Consonantzen am whell the queslion ends with a sixlh. It
precisely described. geschicktesten daz u sind, wenn die Frage makes little difference whether the si:o;:th
z.E. in eine Sex! schliePt; man gerathe is approached from below or above, espe-
Gottsched (Redebmsl p.285) nu n s!eigend oder fall end darauf: das cially in recitatives. In one of his arias,
Interrogatio. Wenn man vielmal hinter {nterrogalio. When one elicits the mach! es nichl alkmahl aus, absonderlich Gasparini e:o;:presses the question, " Why
einander seiner Zuhorer Gedanken mil thoughts of the listeners through numer- im Recitat iv. In einer Arie setzt Gasparini do you not believe?" as illustrated in ex-
Fragen herauszulocken bemUhet is\. ous successive questions. die Frage: Waru m glaubst dn nicht? wie ample I, namely ending with a sixth.
No. 1 hierunter angezeiget wird. nehmlich Somewhere else he uses the conventional
Gottsched (Dichlkunsl pJ39) fallend. lind in der Sext anfhtlrend. An formula and ends with a fifth, as in exam-
Es folgt XXIII. die Frage, (lnterrogatio) The next figure is the question or inter- einem an dem Ortc hraucht er die 11Igliche ple 2. There is nothing wrong with thai,
die sich von sich selbst versteht, und so rogolio, which explains itself and is the Fornlci. No.2. nnd hare! in der Quint auf. and we in no way wish to reprimand him.
zu reden, die gemeinstej aber auch eine most common, so to speak. But it is also Es ist auch gut. und WiT wollen solches But it can also be expressed through a
von den kraftigsten Figuren is!. Zuweilen one of the most powerful figures. At keine, \\leges tade lll j aber es kan doch sixth as illustrated in example 3, which is
ist sie nUT einfach, und daIm hat sie so times it is used only once and has not auch so angehen. wie No.3 stehel, durch nOI as mundane as the others.
viel Nachdruck nicht, als wenn sie viel- nearly 8S much emphasis as when it is die Sext. lind is! !licht so gemein, al s je-
mal hinter einander gesetzt wird. used numerous times successively. nes.

~
Bernhard (Tractatus p.83) .
Die Fragen werden gemeinem Brauche Questions are commonly expressed by .

nBeh am Ende eine Secund h6her als die

vorhergehende Sylbe gesetzt.
ending the phrase a second higher than
the foregoing note and syllable.
Cur con :re-di, ? quid do Je-tis? quid dO- le tls?

~

Mattheson (Cape/fmeisler p.192f.) ~
Die Fragen in der Klang-Rede, so mit Questions in a musical oration, which are
dem bekannten Zeichen (7) im Text ange- expressed with the fami liar (?) in the text,
3 16 IQJ/gil/qlla disf(mlia longlnqua disfanlia 317

Scheibe (Cr;tisdrer Mlls;('I/$ p.69S)

point: "The voices are not to be placed too far from each other, that is,
Die Xte Figur ist die Frage. (Interroga- The next figure is the questi on or itl ler_
tio.) Die Eigenschaft derselben und ihrt rogalio. Its propenies and musical ex- not more than a twelfth apart. For that reason, composers of former days
Stellung in Noten ist bereil! allen pression are already so fam iliar to the did not compose duos for soprano and bass. which today 's composers
Musikverstilldigm so bekannt. dap im musically literate that il is hardly neces- frequentl y do in their dialogues, etc. Therefore this rule is also not very
auch fast nich! OOthig habe. etwas davon sary to consider it here .... II can be
zu gedenken .... Sic kann in allen Inslm- panicularly useful in inSlrumental music. binding.'" With the dawn of the basso continuo era, this rule of cOWlter-
mentalst Ue:ken Obemus gut gebrauchet ... A lengthy piece which is construct ed point is no longer as relevant or as strictly observed as in the sixteenth
werden .... Ein SlUck. das weitUiuftig OUI of numerous cOl1nected melodies re-
century. In real izing the bass line, the keyboard player fills in the gap
lind mit vielen an einander hangenden lains a pleasant cohesiol1 through a fre-
Melodien 8usgelUhret ist. mup an vielen quent appli cation of the interrogQliQ. TIle between the voices "in such fashi on, thai the ear does not notice the great
Orten durch diese Figur in einem ange- subsequent passages must also provide distance between them quite as much." Bernhard describes the distanria
nthmm Zusammenhangc erhalten wer- clear answers in response, as it were. Fur- between soprano and bass as longinqlla ("distant, foreign"). TItis latter
den. Die Slitze abeT. weicht darauf fol - thermore. the figure can very we ll be
gen, mllssen hingegen aueh gleichsam doubled. resulting in numerous succes
term not only describes the "long" interval separating the voices, but also
ciner deutl ichen Antwort !I.hnlich seyn. sive questions. It can also be employtd at signifies the " fore ignness" or "strangeness" o f the resulting interval. Like
Es kann remer diese Figm sehTgut ver Ihe end of a slow movement, where it is a number o f his other figure s. including the inchoatio imperfecra, this
doppel! werden. lHl d so ktsnnen mehr als used with the most emphasis. In any case
figure is only fOWld in Bernhard's Tractalus. This device was freely used
ci ne Frage unmittelbar auf einander fol- however, it must result in a cenain cohe-
gen. Sic kann Bueh am Ende cines lang- sion and an indispensable Succession of in contemporary composition and did not tecimically define a dissonance
samen Salzes slehen. und da wird sie melodies. Consequentl y. an aria would but rather a compositional irregularity. In keeping with his intention to
gewi!} mit dem besten Nachdrucke ange- ultimately end with an imerrogalio in
focus on the proper use o f dissonance, he no longer considers it neces-
wendet. Ueberall aber mull sie sich auf accordance with the text, in order 10 leave
einen gewissen Zusammenhang und auf the listeners in reflection . . . . After all. sary to list this technicality as a figw-e in hls Bericht. Neither is the fi gure
eine unentbehrlich Folge von Melodien who does 1101 recognize the necessity and encountered in any other Figurenfehre.
beziehen: man mUpte dmn eine Arie, der charm of the question in all musical com
Wone wegen, ganz und gar damit be- positions?
Bernhard ( Truelallis p.79)
schliepen. urn bey den ZuMrem ei n
So ist oben in demselben Cap. No.1) der In the same chapter [2], no.13, above. the
Nachdenken zu hin terlassen . . . . Wer
weite Unlerscheid einer Stimme von der wide separation of one voice from th e
sieht Ubi-isms nicht die Nothwendigkeil
andern verbothen worden, wiewohl mi l olher was forbidden. But as already ex-
und die SchOnheit der Frage in allen
schon angehllngcer Erkllrung, daP heule plained. this OCCUJJ not infrequently now-
musikalischen StUcken?
seiches nkht selten vorkom me, und sol adays. and I therefore call it longinql/a
ches hei!}e k h sodann Longinquam distanfia.
distantiam.

K YKLOSIS: see C/RCUUTlO Beyde diese letzlem Figuren, als Incho- BOlh of these figures, me itlchoalia
atio imperfe<:ta und Longinqua diSlanlia imperfecta and the longinqlla distanlia.
LICENTlA: see ff)'PERBOLE. PARRHt;SJA werden wegen des General Balles zuge are pennitted through the th orough bass
lapen. indem der Organist Uber den because th e organisl is to playa proper
fUrgegebenen Ball wo es ml'lglich ein four-p art harmony above Ihe given bass
LIGATURA: see SYNCOI'ATlO richtiges Quatuor schlagen soll, daher whenever possible. The omitted perfect
denn die am Anfange der Composition consonances at the beginning of the com-
LONGfNQUA DlSTANTlA : a di stance between two neighboring
voices of a composition in ex cess of a twelfth.
1. ' Die Stimmen sollen nkht zu weit oder nicht Uber ei ne Duodecimam yon
einander steh en. daher man ni eht tindel. das di e Alten Cant o e Basso solo companiret
In the second chapter of hi s Tractatlls, Bernhard makes the follo\.ving haben. welches zwar die Heutigen in denen Dialogis etc. thun, daher auch diese Regel
nicht so gar sehr bindet." Traclalus. 41 .
31B me.ssan::a meltJbasi.f 319

8usge lal}enen perl'e cta von dem Organis- position arc: thereby su pplied by the Or_ lichen Liedem. cine Bal be oder gantze gals. or secular o r lighthearted songs and
lell c:r5etzet und duTCh sei ne Minel-Par- ganist. and the h igh voice of the composi_ Zei le Text. sammt den Melodien, heraus- I h~e portions are fashio ned into another
theyen di e hohe Stimme der Composition tion is connected with the low bass I! ffiOlllI1H: n . und solchen Fleckgen
ails ent ire song.
mil dem liefi'm Balle dergeslatt vermittelt through the: middle voi ces in such fash ion un d Stiid;g eu \\ilI.''I1.II1\ ei o g antzes lied
wird, da(l das GehOr dadurch die weile that the ear does not noti ce th e great dis- gemacht \\ ird.
DiSlanlz. nichl so sehr o bservire l. tance: between them quite as much.
Spie~~ ( rmt'latlll p J 56)
Mess:lllza. oder t. lisl icanza Mixlio. Ver- The me.tsml=a or misticanla. al so known
mischullc. iSI cme mil obisen LJ uffen 115 ", i.t1ia or m ixture, is II figure cons ist-

MANUBRIUM : see PARAGOGE \'ermisdllc Figur. bestehc1 meisleliS in ing pri m ari ly o f various leaps and is
lUUt'TSchiedlichm Spriingen. Diese Figu r m ixed w ith the above nuts (carta . g rop-
WiTd in Passaggien. Phantasien. und po. rico/a. liruta). Th is figu re is fre.-
MESSANZA: a series of four notes of short duration, moving either by sonrierl1<1r in Va riation ib us vi el ge- qu en tly us ed in p4SSaggi. phanla.siae,
step or by leap. braucht and espttially in Iorialiones.

Messal1:a is defined both as a simple ornamental figure as well as a song

genre more commonly known as a quodlibet. In both cases, the literal
meaning of the word, "mixture," is embodied in the musical devices. It
is a mixture either of various different melodies or of various different
intervals. Unlike the figurae simplices such as the corta, groppo, or
circolo, this embellishment is not limited to a certain formati on but can MET:\ BA SIS. TRANSGRESSIO : a crossing of one voice by another.
result in a myriad of different figurations. According to Printz, the total
number of different four-note messanzae comes to six hundred . The terms cited by Vogt and Spiess for thi s fi gure. metabasis or diabasis
and fl"al1.sgress;o. are assigned differenl rhetori cal definitions. Trans-
PrinlZ ( /' hf)'nis Mytilenaeus pt.2 , p.S7) gressio is the Latin term for h),perbatol1 and indicates a rearranging of
Messanza ist eine vennengte F igur. so The ",e.JSOIIZO is a mixed fi gure consist- the proper word or phrase order.I Mela or diabasis, translated with the
aus vier geschwinden Noten bestehet I ing of four rapid notes of whi ch either
we lche m tweder zum theil bleiben I und some rem:tin stationa ry wh il e o thers
Latin frGlIsitio. refers to a transition from one thought to another.2 The
z um Th ei l s ich bewegen I oder theil s move or some leap whi le others mo,'e by li tera l mea ning of both metabasis and transgressio incorporates the sense
spring en / und theils ordentlich gehen. step. of stepping (basis. gl"essltS ) over or through (mela. fralls) something else.
Both Vogi and Spiess adopt Ihe rhclorical terms metabasiS/lralls-

Walther (Lexicon) 1 Sce H..I1J('/"Z,a/(Jn.

Messanza , (ita1. ) ist eine vermengte Fi- The ",esSOlllO is a mixed fi gure consist- 2 A lthough M"lI hc son g enera ll y use s th e re lated term Iram itll5 in its commo n
gur, so au s vier geschwinden Nolen be ing of four rapid notes of wh ich either mU5 i c~1 II nd erstan d in g. namely. o f R pass ing n ote. in his d isc ussi on of the mu sical
stehet, we lche entweder zum theil blei- some remain stationary whil e others rllsl'o.", 1O the term Il"cmsilUS is used to in di cate "a tran s ition. through which the
ben , und ZUlli theil 5ich bewegen, oder move or some leap while others move by (oregolllg is co nnected w the fo llowing"' (" Oa ist ein Tra nsi tu s oder U ibergang. Kraffl
th eils springen, theil s ordentlich gehen. step. In Praetorius's ISylltogm aj vo!.l des sen d ~s vori g e m il dem fo lgen den an e in ander gefUgct. ulld von jenCIll zu di esem
Berm Prlletorio T. 3. c.S. ist Messanza ch.S, ",essallza or mist/chollta is defin ed h"r(ih~ r gClreten w ir d ." CapeJlmdsle,.. 2]8 ). Here h e refers to a specific bass no te
1!11ll1edl~te ly repcmcd all octave h igh er follow ing a caden ti al note marked with a fermata
oder Mistichllnza 50 viel, als ein Quod- as a quodlibet: namely when a half or a
libet; wenn nemli ch aus vielen Motetten whole line of texl with its me lody is and fonm ng an lIp hem to the fo ll owin g ph rase. Th e repealed n ote thereby "recall s" what
und Madrigalim. weltlichen und passier- taken from a number of motet.5. madri has jllst been utt ered, whi le at th e sa me time introd uc ing the subsequent though t, an
exact pal all e llO th e rhetori cal me/aboris or /I"(I/Isillo.
320 metabruis meta/epsiS 321

gressio to indicate voice crossing, 1 The definition and example which METALEPSIS. TRANSUMPTIO: a/Ilga with a two-part subject, the
Vogt provides (and Spiess duplicates) reflects the literal understanding parts alternating ill the composition.
of the tenn rather than its rhetorical content. The voices "step over" each
other, creating in fact a two fold "transgression ." First, such voice The rheto ri cal metaleps;s is supplied with two related definitions: two
crossing is considered a compositional irregularity in traditional COWltCf- unrelated term s can be correlated through a third, intennediary. or
point. As Bernhard points Qut, " upper voices must seldom pass under transit ionaltenn. or a thought can be clarified with either a preceding
lower ones, and lower ones seldom over higher ones.,,1 Second, a visual or a subsequent thought. it is the laller understanding of metalepsis
transgression or crossover is created with this device. In the example, which is adopted into Burmeister 'S Figllrenlehre. His somewhat enig-
the figwe is effectively used to vividly illustrate the text, "take me with matic definitions are elucidated through his examples: soprano and alto
you; seize me in your {anns]." As the voices intertwine, one voice voices begin with the entire subject, whi le tenor and bass voices enter
"seizes" the other and "drags" it along. with only the second part of the subject (to the textprocedit mel). Finally
the second tenor enters, now with the entire subject. The "missing" first
Susenbrolus (Epilome p.88) part of the subjeci in the tenor and bass entries is supplied by the preced-
Transitio J1Etcipao\~ est quum paucis The Iral/silio or melabasis occurs when
monemus quid dictwn sit, et quid postea we briefly recall what has been said and
ing and subsequent entries of the subject in the context of the composi-
simus dieturi. anticipate what is to follow. tion, thereby completing both the musical and the textual thought. The
musicaillletaleps is consequently concurs with both the rhetorical and
Vogi (Conclal'e p.152)
Metabasis, vel Diabasis. Trangressio, ubi The metahasis (or diahasis.lransgress io) the literal meaning of the tenn : the meaning of the musical (and textual)
una vox alteram transgredilur: ut in ex- occurs when one voice crosses over the expression is clarified "through" (mera/tralls) the "addition" (lepsis/sum-
emplo: other. as in the following example: plio, adoption. assumption) of a further reference. The meaning of
meralepsis as "exchange" is also found in Burmeister's definition when
he speaks of the voices being verrllll/lir. The Latin tenn for metalepsis,
TT' ne 10' trallsllmptio. appears in the definition as the verb tranSlimere, referring
'" me
to a "taking up" o f two motives in the composition.
Like the other fugal figures hypallage andparembole, the metalepsis
to. in leI only appears in Bunneister's Figurenlehre. The various fugal techniques
" are not li sted as separate figures after this but are included in general
Spiess (Trae/a/us p.156) discussions o f counterpoint or listed as variants ofjllga.'
Metabasis. oder Diabasis, Transgressio, The metabasis (or diabasis.lmllsgrusio.
Ubersch reitWlg. ist. wann immer eine a transgression) DeCUNi whenever one Quintil ian (/I/srillliio VII I.vi.37.38)
Stimm die Mdere Obersteigt. voice crosses over the other. Super est ex his. quae aliter significant. lbe melalepsu or IranSlimplio is the last
metalepsis. id est transumptio, quae ex of the (tropes] involving a change of
alio tropo in al ium velu! viam praestat; meaning and signifies a transition from
1. Although the spedfic technique of voice crossing is not mentioned in other ... Est en im haec in metalepsi natura, ut one trope to another.... It is the nature
Figllrenlehren. a related compositional device is identified through helerolepsis and inter id quod transfertuT et in quod trans- of the mela/epsis to fonn a certain inter-
hyperbolan. These figures indicate an intrusion of one voice into the range of another. fertur sit medius quidam gradus, nihil mediAte step between a transferred term
Thus the rhetorical device of lransgressio finds its way into the musical Fig/lrenlehre ipse significans sed praebens Iransitum. and that 10 which the tenn is transferred.
under its Greek name. hyperbalon. white the rhet orical trallsiljo is ident ified as a
Iransgresslo in music. See Heterolepsis. Hyperbaloll, Parel/thesis.
2. "Die hohen Stimnlen sollen selten ullter die Tieffen Ulld die Tieffen lIber die
Hohen steigen." Trae/allLt, 42. I . See Fuga .
322 rne/a/epsis rneta1ep:"is 323
,
Nam id dus frequentissimum exemplum
est cano canto. canto dico. ita cana dioo.
interest medium iIlud canto.
taking on 110 meaning itself, bUi only pro-
vid ing a transition. The most common
example is the following one: if cano is
~ "- ~ I ~ r 1 T, , ~ f ;~ ~
J I
r F
~ I I
~
#.I I II I
n ~
replaced with ean/o, and canto with dico,
then cano can be replaced with. dieo, the
intennediate step provided by canto. ~,
I ,J J J ,J J J I I
, ,
Susenbrolu5 (Epitome p.ll) r I '
Mmiepsis. ",E'ta). "~l~ Transumptio. est The rneralepsis or transumplio occurs
ubi gradatim ilUr ad id quod ostenditur. when something is revealed in stepwise
Vel est cum aliqua vox aliud proprietate fashion. Or il occurs when a certain utter Burmeister (Mus ica Alltoschediastike
significationis suae ex his quae prae- ance adopts a meaning olher than its iii pH )
cessenmt. denalat. Tropus poelicus ac eral one because orthat which preceded Metalepsis ~1Hi ). T']tln~ est talis habilUs The metolepsis is a fonn ofJl/ga in which
omnino rarus. it. It is a rare poetic trope. Fugae. in qua voces duae, vel ex reliquis two or more of ilS voices, beginning ei
aliae voces inler se modulaminis initium ther simultaneously or after a certain in
Vossius (Commenrolorillm RheloriCllm, siw simul, si\'e per intervallum facientes, terval, introduce different subjects. TIle
2. p.162) di\'ersas proferunt melodias, quas reli remaining vo ices together with the first
Metaiepsis vocalur tum quando ex ante- The metalepsis occurs when the subse quae voces IUla cum illis primis duabus two then adopt now one, now the other of
cedente inlcl1egitur con sequens aut ex quent is understood from the antecedent, in ha rm ollia hinc inde Iranssumunt & in th e subjects and altemate them in the
consequenle ant~edens. or the antecedent from the subsequent. fugam \ertunt. U1 apud Orlandum in De fi/ga. as in Orlando's De ol"e prudenlis.
ore prudentis ,
Gottsched (Redekuns/ p.249)
Die Metalepsis, deT Zustandswhsd, The metalepsis or transformation is of
und dieser ist zweyerley. 1) Das vorher
gehende flirs nachfolgende. Z.E. Man
two kinds: ( I) the preceding can be stated
instead of the subsequent, as in "He has Sf , , , ~
sagt: Er hat gelebet, an Slatt. er ist gestor- lived" instead of "He died"; (2) or the
subsequent instead of the preceding, as in ,
~ 0 "pro .<*> ~

pm - ce .. IMI, pro-co .. m.
ben .... 2) Das Nachfo\gende rurs Vor-
hergehende. Er hat nicht viel vergessen, " He has forgotten little" instead of "He
~.
an stall, er hat niehl vie! gelemet.

Burmeister (Hypornnemalllrn )
has learned little."
o. - 0
0
;
~ Us pro-c:. .. ~~ ~ .) <leo ,.

Metalepsis est Fuga duplex, in qua vo-

cum, quae simili. in Modomm conjugio,
The metafepsu is a doubleJllga in which
one voice partially introduces the subject
~ om
)
sunt Ambitu circumscriptae, altera al of another, namely its second part, into ~ ~ .,...to IMI, pm . lCO -
terius Melodiam in rugam abripit, cui the Juga, which it thereupon completes

~
mox alteramm similiter ruminando adji. through repetition of the whole subject.
cit. The range of the voices are similarly lim
ited through the ambitus of their conunon
~
modus.
~
)

d
324 mime.fis mime.f(.f 325

'Ole fir st musical use of mimesis occurs in Stomius' s definition of

a canon or fuga. lbis also appears to be the first time that rhetorical
figure tenninology is consciously applied to a musical device. Stomius
wishes to identi fy the repetition of the canon or juga subject with this

~ .. term to distinguish between the original voice and the imitating voices. I
Although the sense of mocking cannot be present in a musical mimes is,
the distinction between the original and the imitation is retained. While
the imitating voices reproduce the original subject, they are nonetheless

...., o
perceived as autonomous and di stinct voices .
Bunneisler uses mimesis terminology both to define a noema fi gure
and to de scribefuga, in particuJar hi sjilga realis.In his Musica Poetica
the fuga realis, a freer form of fugal imitation in contrast to the canonic
Juga imagillaria, is listed as one ofthe jigurae harmoniae. These are the
figures which affect all the voices of a composition. While the different
voices may be similar, they are not identicai , just as an imitation remains
distinct from its original. Thi s understanding is reinforced through Bur-
meister'S use of the mimesis terminology, mimema and memimeme1los
Burmeister (Mil/icC Poe/icc p.58)
The met(lleplil is a form of/Ilga in which (~(~TJ~a: and ~ ~l~TJ~tv OC;), in describing the Juga reaJis.ln such an
Metalepsis J1Etul" "nt; est talis habitus
Fugae, in quo duae Melodiae in Harmo- two subjects are alternately adopted in imitation, the reference to the original must be clear yet at the same time
nia hinc inde transsum untur & in fugam the haml()flia and alternate in the /llga. A remain distinct from it. The Juga imaginaria on the other hand is li sted
vertuntur. Exemplum luculentissimum most splendid example is found in Or
lando's De ore pruden/iS.
as one of the jigurae lam harmoniae quam melodiae. As Burmeister
esc apud Orlandum. in De ore prudentis.
describes thi s form ofJuga as consisting of only one voice, it is ajigllra
melodiae. However, because the canonic device determines the forma-
tion of the remaining voices or the entire harmonia, it is tam harmoniae
MIMESIS, ETHOPHONIA. IMITATIO : (I) a repetition of a lIoema
quam melodiae. Thus Bwmeister switches the use of mimesis terminol-
at 3 different pitch: (2) an approximate rather than strict imitation of a
ogy from describing strict imitation or canon, as Stomius had done. to
subject at different pitches.
deSCribing freer and independent imitation. Similarly, the repetition of
a noema, a homophonic passage within a contrapuntal composition, at
The rhetorical mimesis or ethopoeia signifies a contemptuous imitation
different higher or lower pitches is specifically called a mimesis by
of somconc by mimicking their speech, mannerisms, and gestures in an
Burmei ster, while a repeated " oema at the same pitch is termed ana-
oration. As such it is distinct from the prosopopoeia, which can be used
lepsis. Here again Burmei ster wishes to di stinguish between an exact
to represent the speech o f a deceased or absent person in a lifelike
repetition and a similar but varied imitation.
maImer. I While mimes is is an imitation which is clearly di stinct from the
Thuringus lists mimesis as an alternative lenn for repetitio, which
origin al through its mocking repetition, the prosopopoeia wishes to
he defines as a continuous repetition of a theme in one voice but at
present someone 's words as if that person were in fac t present.

I . Sonnino. Handbook, 54. t . See Fllg(l .

326 m i mesIS mim t.fis 327

different pitches. He thus adapts Bunneister's varied repetition of a through a \'aried repetition of the subject .
noemo to the varied repetition of a theme. I ntis deftnition of mimesis is Spiess begins hi s disc ussion of im;falio with the comment that he
also given by Walther, who additionally lists imilario rather than repe_ does not at that point wish to discuss the term in the sense of imitating
tilio as an alternative term. However, he defines imitatio as an imitation the music of past masters, "which is in itsel f a praiseworthy undertak ing,
of a theme at intervals other than the uni son. fourth, fifth, or octave. as long as tltis does not lead to outright musica l plagiari sm." This formu-
ind icating that thi s device does not refer to real or tonal fuga l answers lation again displ ays Spiess's indebtedness to Mattheson (among others),
but rather to freer imitation. Burmeister's and Thuringus ' s co nditions who uses this e'\planat ion in his second definit ion of imitalio. Burmeister
regarding the mimesis or ;mitatio are thus simplified to indicate freer dedicated the last chapter of his Mus ica Poetica, De Imitatione, to this
imitation at various pitches. At the end of the final chapter of the second topic, where he states that "imitatio is the striving and endeavor to
part of hi s Capel/meis ler (which deals with the musical dispositio and dexterously rellec! upon, emulate, and construc t our musical composi-
decororio). Mattheson mentions mimesis as one o f the fi gures used in tions through the analysis of art fu l examples. "I lncluded in this chapter
fugal composition, also indicating an understanding of the device as freer is also a list of composers whose works Bunneisler considers worthy of
imitation. He then places his discussion of imitatia (translated by the imitation. Such a process of ana lysis and imitation forms the very core
German Nachahmung, meaning mimicry) in the third part ofru s Capel/- of Renaissance and Baroque pedagogy, wltich consisted of learning the
meister, wruch deals with the technical aspects of composition. The last rules, studying the examples of past masters, and imitating their work,
variant o f his threefold defmition of the term also signifies a free fonn commonly summed up in the phmse praeceplum, exemplum, el imitatio.
o f imitation, emphasized through his bold print of mit aller (with all), This understanding of imitatio is equally common in rhetoric and music?
in reference to the liberties taken in imitation. It also lie s at Ihe heart of Burnlei sler's endeavor 10 identify and label
Of all the musical mimesis definitions, Vogt' s curious description compositional devices with famili ar rhetorical temlinology. In keeping
is closest to its rhetorical counterpart. According to Vogt (and after him , with tlti s traditi on, Bernhard includes the chapler Von der Im itation in
Spiess), a mimesis can occur when women 's voices are imitated by men. his Traclatus , where he also lists vari ous composers who should be
Whi le the rhetorical sense of mimicking is most evident in Vogt 's emulated. l Regarding imilatio, Bernhard states: " For the inutation o f the
de fmi tion, he makes no mention of specific voices or intervals of imita- most distingui shed writers in the musica l profession, as in all the other
tion, being more concerned with the figure 's effect rather than its techni- arts, is not ani) a useful but a necessary part of the praxis, without which
cal requirements. Both Vogt and Spiess also list ethophonia as an alter- all precepts arc useless.''''
native tenn for mimesis. While ethophonia does not appear in rhetorical
Figurenlehren, Quintiiian li sts ethopoeia as an alternative to mimesis. (Quilllilian /IIS/IIIIIIO IX.ii.58)
Imilat io rnon lill alienorum, quae ~Oo. The imitation of someone else's voice is
In adapting the term to the musical context, Vogt replaces the literary
paeia with the musical phonia, resulting in a closely related derivation.
Spiess, like Walther, also lists imitatio as an alternative term for mimesis
I. "llllilotio est studium &. COI1ameTl nastra canllina musica ad Artifidu m exempla,
and ethopho f/ia . And, like Walther, he also defines imitatio separately per analysi dextl'e cons ideratR, effingendi & fontlandi." MIISlca poel ita, 74.
as a method o f freer imitation. This form of imitation can occur either 2. Ru hnke, ill/rmer.we,., 166.
by reducing the durational value of the subject' s notes whi le preserving 3. Dcmlrard lisls the various composers accord ing to th e musical styles. Incl uded
are 1101 only Flcmish and Roman masters (under styllis grOl'is) but also modem masters
the original intervals, known as diminutio natarum or subjecl;, or
such as Monteverdi. Canssimi. and Ross i (under both kinds of S/Y/IIS Iz,.m r lans), as well
as Scacchi, \\h o strongly influenced Bernhard's stylisticall y orien ted discuss ion.
4 . "Denn doclr die Imitation der vornehmslen AUlhorum dieser Profession nicht
weniger als in ~l1 en andem KUnsten nUtzlich ja n01hig is\. a15 ein Theil der Praxeos,
I. See AnaphwQ. ohlle welche alle l'raecepta ohlle NUlzen sind." Tracta/lls, 90.
328 mimesis mimesis 329

1'tOlttt vel. ut alii mal Un!. ~ ( ~'l(JI<'; did- called elhopoeia or mil/lesis. and is dtpressius vel altius sub!i miu5ve imilan- voices at a higher or lower pitch. as in
!tIl. iam inter leniorcs adfcclus numeraTi counled among the figures used 10 arouse cur. lit apud Orlandum in Omina quae Orlando's five-voiced Omnia quae [isli
POSies!: est en im posita fere in c:ludendo, gelllier affections. II is used in a mockin g fecisti nobis Domine 5 vocum. ad lex- nobis Domine at the text Miuricordiam
sed versatur et in facti s et in dietls. manner. and concerns itself wilh deeds lum: Misericordiam luam &tc. luam.
and with words.

Gottsched ( Redelnlllsl p.254)

Mimesis. lsi cine sjXSuische Wieder- The mimesis is II mocking repelilion of
holung def Worte desstn, den man Ihe words of the person who is 10 be
vetspolttfl will . mocked.

Siomius (Prima inSlrllctio p.C2')

Ingeniosa, quas mimeses sell fugas appel- Mimeses orfugae are ingenious constmc.
lanl: ubi eadml vox a pluribus. sed certis tions in which one and the same voice is
temporum spaeiis intervenientibus. con- successively SlUIg by othm delayed by ..
sequenler canitur. specified interval of time.

Bunlltister (Hyponmenwwm)
Mimesis fit, qua.ndo V(X;U1l1 quarundam A mimesis occurs when the neighboring
propinquissime conjunctarurn suavis structure of pleasantly combined \'o ices
affectio imitation/! quadam ab aliis repe- [i.e.. a IJocma] is repeated by an imitation
titur. of the other voices.

Thuringus (Opuscu/l/m p. J25)

Quid est Repetit io? Repecitio, quae &. What is the repel/liD? The repetilio. also
Mimesis dicitur. est. cum in COfI!raplUlcto called mimesis, occurs when in florid or
florido seu fraclO. thema in Wla aliqua mixed counterpoint a theme is continu-
voce perpetuo iterarur. quantum vis muta- ally repeated in one and the same voice at
tis locis. however many different pitches.

Vogt (Cone/a"e p .151)

Ethophonia, \'el Mimisi!. Cum aliquis The elhophonia or mimesis occurs when
altenus vocem imitatur. ul mullens. someone imitates the voice of another. for
example (when male voices imitate the
vo ices) of women.

Walther (Lexicon)
Mimesis [lat.] ~ilJT}ol" (gr.] imilatio, The mimesis or imitatio occurs in a com-
heisset in einer Composition: wenn ein position when a certain theme is consis-
gewisses thema in einer Stimme immer tently repeated in one voice. See Thurin-
wiederholt witd. s. ThuTing. P.2 c.1S. gus. [Opuscuillm] pan 2, ch.lS .

lmitatione. oder lmitazione [ital.] Imita- The ... imi/Olio is a mimicry or repro-
Bunnelster (Musica Poe/ica p .59) tion [gaL] Imitatio [Jat.1 eine Nachah- duction and occun when one voice imi-
Mimesis ~ (l4'1(H<'; est quando in plurium A mimesis occu rs when a number of mung. Nachmachung. ist : wenn eine tates the melody of another at the second.
yocum combinationc: aliquae voces maxi- voices in II polyphonic composition intro- Stinune die Melodic einer andem in der thi rd. sixth, or seventh.
me: propinquae: aliis silentibus Noellla duce a noema. while the other immedi- Secund, Ten. Sext. oder Septima nach-
introdUCWlt, &. hoc tae , quae silent &. sibi alely adjacent \'oices are silent. They are machel.
invicem vicinae Sunl ae propinquae imitated then in tum by the adjacent
330 mime1is mimesis 331

Mattheson (Capellmeisler p.244) mercket man dU Tch die Nachahmung

Noch eins iSI zu erinnem. dap nehmlich And finally it should be remembered that dcnjcnigcn angen ehmen Wenstrei\. wel-
tllller die gTossen Erweilerungs-Figuren, the well-known and famous art work chen verschiedene Stimmen tiber gewisse
deren etliche dreiPig seyn werden, und called Fugue is appropriately numbered Fomldgen. Glinge oder kurtze Satze mil
die mehr ZUT Verliingerung, Amplifica. among th e large figures of amplificati on. aller Fre-iheit unter einander fiihren.
tion, zum Schmuck, Zierath oder Gepriin- There are approximately thirty of these
ge, als zur grOndlicben Uiberzeugung der figures, which serve more to prolong, Spit'ss (T,./.I C! allis p, I 56)
Gemuther dienen, nich! mit Unrecht III amplify, and adorn a composition than to Ethophonia. oder Mimisis, Imitatio. The ethophollill (or mimesis. imifalio. or
zehlen iSI das bekannte und berilhmle thoroughly convince the passions. In. Nachahmung. w ird a[sdann genennet. mimicry) occurs when someone imitates
KWlSt-StUck der Fugen, worin die Mime- cluded in the Fugue are figures such as wann einer des andem Stimm im.itirt. v.g. th e voice of another, for example [when
sis, Expoiitio, Distributio saml andem mimesis, expO/ifio, dislribulio, and other eint's Weibs. Yogt fol. 151. Waltht"l" sagt, a male voi ce imitates the voice] of a
Bliimlein, die sellen zu reiffen Frllchten embellishments which are rarely fruitful es heisse in einer Composition. wann ein woman, Walther claims it occ urs in a
werden, ihre Residentz, als in einem and fmd their home in that greenhouse of gewisses T hema in einer Stimm immer composition when a certain theme is con-
Gewiichs-Hause. antreffen. An seinem figures , More instruction regarding th is wiederholet wi rd. sistently repeated in one voice.
One wird davon mehr Unterricht rolgen. will be given at the appropriate place.
hnitatio. Nllchahmung. ist hief nicht zu TIle imifalio or mimicry is here not to be
(Capel/meisler p.331 ) vt'rstehcn \"on der Betl1Uhung, so man understood as the endeavor to imitate one
Denn, gleichwie eine Unterredung, da III For. just as a discussion in which every 5ieh gibt, dieses odeT jenes Meisters or the other master's worthy work, whi ch
allen Vortragen blosserdings Ja odeT statement is answered with only Yes or preipliche Albeit nachzumachen. welches is in itself a praiseworthy Wldertaking. as
Nein gesaget, und keine Untersuchung No, in which no inquiry is undertaken, no an sich selbsten ein gantz 10bwOrdige long as thi s does not lead to outright mu-
vorgenommen. keine Behauptung ange- assertion is presented, no counterargu- Sa~he is!. so lang kein fonnlicher Musi- sica[ plagiarism. Rather imifOlio means
bracht, keine Gegenrede verspi.iret, kein ment is discerned, no small friendly con- calischer Ra ub darbey mit unterlauffi; aemulatio I'OCllm , the emulation or mim-
kleiner freundlicher Streit erregel, ja, gar test is provoked, yea, not the slightest sondem lmi tatio heipt so viel. als Ae- icry of the voices. r~ulting from an imi-
keine MUhe genommen wird, es einander effort is made to imitate or to excel, will mulatio vocum. Nacheifferung. Nach- tation or reprod uction of the subject or
nach oder auch zuvorzuthun, gar bald soon become tiring and cause ill will, in atfwlg deT Stinuneu. da sie sich anlassen, theme with all its steps and leaps ifpossi-
schllifrig macht, und schlechte Freude like manner every composition, even if it das Subjccturn oder Thema nach Mog- ble.thus always appearing similar to the
erwecket: also erfordert auch eine jede were to consist of only two voices, also [ichkeit mit solch ihren GOOgen und subject. This commonly occurs through
Hannonie, wenn sie gleich nur aus zwo requires such explications, objections, Sprtingen. so dem Subjecto immer the tv.o fonns of dimimlfio, "ofamm as
Stimmen bestiinde, eben so1che Erorte. analogies, and arguments in the musi c gleichfOnnig scheinen. IUld seyn kOnnen. well as .Hlbjecfi, with one notable differ-
rlUlg, Einwiirffe, BeisprUche und Luft- which are achieved through no better naChzlIahmcn un d nachzumachen. E5 ence. however: the progressions and
gefechte in den Killngen, die man dUTch method than through so-called Nach - geschiehet di eses meistens per Diminu- leaps of th e subject are presented through
kein bessers Mittel, als dUTCh die so ge- ahmung (mimicry), known also as imi- ti onelll Notarum 50 woh[ , a[s auch Sub- the dimillurio figures with faster notes but
nannte Nachahmung, welche mit ihrem taliu or aemulatio VOClIm. Such mimicry jecti. doch Illil diesem notab[en Unter- always in strict imitation, while the imi-
Kunstworte, lmitatio. vel potius Aemula- has a threefold meaning in music. First, scheid. dap in Figura Diminutionis jeder- la/io mim ics the s ubj ect or theme in
tio vocum heisset, yorstellig machen kan. we have opportunity to imitate all sorts of zeit in jene Wing und SprUng des Sub- nei ghbo ring or middle voices only
Diese Nachaiunwig nun hat in der Music natural things and affections, which is jecti, wiewuh[ nUT mit geschwinden No- qllomodoclllllqlle, that is. in what ever
dreierley zu bedeuten. Oenn e rstlich fin- undoubtedly the greatest help for the ten. doch legaliter eingetretten werdc. way possible. lllere are certainly enough
den WiT Gelegenheit, derg[eichen UibWlg inventio, as has already been discussed welches in dcr Imitation nicht gesch ie- examples of thi s figure.
mit allerhand natiirlichen Dingen und above. Second. it refers to the trouble one hel. somkm nur quomodoclUlque. wie es
GemUths-Neigungen anzustellen, worin takes to imitate one or another master 's imm er SC}11 und geschehen k{\nne, das
schier das gri)sseste HUlfsminel der or compose r' s work, which is in itselfa Subjectll!ll oder Therna von and cren
Erfindlmg bestehet, wie an seinem Orte praisewonhy undertaking, as long as thi s Neben_ und Minel-Stimmen imitirt und
gesaget worden ist. FUrs andre wird die- does not lead to outright musical plagia- nachgea!l"ct wi rd. Exempla seynd allent-
j enige Bemilhung verstanden, so man rism , Third, it refers to that agreeable halbcn genugsam.
sich gibt, dieses oder jenen Meisters und competition fought with all freedom be-
Ton-KUnsllers Arbeit nachzumachen: tween the various voices over certain mo-
welches eine gantz gute Sache is!. so tifs, passages, or phrases.
lange kein ftlnn li cher Musicalischer MISTICANZA: see MESSANZA
Raub dabey mit unter[iiuffi. Drittens be-
332 mora nwlliplicO/io 333

MORA : a rising resolution of a suspension when a falling one is ex_ only modifies a di ssonance. it is always used in conjunction with a
pected. di fferent. dissonance-producing figure . In his definition of mllitiplicalio.
Bl!mhard point s to its use in conjunction wi th the transitus and the
The tenn mora (literally. "delay") is only encountered in Bernhard 's syncopatio. Elscwhere in his treatise he mentions other figures which are
Tractalus. The choice of this term for an unexpected upward resolution conunon1y associated with it. The e:clensio. a figure used to prolong the
of a suspension points to a twofold delay. First, the sounding of the duration of a di ssonance. frequently has the extended dissonance subdi-
1
expected consonance is delayed through the suspension. Second, in both d ded into shorter notes through the multiplicatio. And in his TractallIs
of Bernhard's examples the initial rising resolution is followed by a de finiti on of the quasi-transitus, a passing note with the dissonance
falling melody line, thereby delaying the expected resolution that much falling on the strong instead of the weak beat, Bernhard comments that
longer. Although the tenn is not found in hi s Bericht. he introduces a this foml of transitlls always occurs in conjunction with the mutti-
related figure with the same literal meaning, the retardalio. I Thi s fi gure plicatio. 1 Although Bernhard omits many of the figures listed in hi s
signifies a delayed but expected upward resolution of a suspension. It TractafliS in his later Bericht, presumably because they do not in fact
is the retardatio which is then li sted in Walther's Lexicon, as well as in incur or explain dissonances in a composition, the multiplicalio is
the treatises of Scheibe and Spiess. retained because of its close association with the dissonance figures.
Walther adopts the term along with its definition in his Praecepta but
Bernhard (Trac/o/us p.8.5) not in hi s Lexicon. Nor does the figure appear in any of the other
Mora ist cine wngekehrte Syncopatio. The mo/'a is an inverted syncopaliv
indem nehmlich die auff die rtlckende which occurs when the consonance
affection-oriented Figurenlehren of subsequent authors. Scheibe does
Dissonantz foJgende Consonantz nich! which follows the shifted dissonance include tlti s device in hi s early composition treatise but not in the
cine Secunde flllC'! , sondem steigel. rises ruther than falls a second. Figurenlehre found in his Critischer MIISicIlS , He identifies it as vari-
alio, a teml normally used to describe a general embellishing of a me-
lodic passage.}

Bernhard (rmc/a/uJ p.75)

Multiplicalio is\ eiller Dissonatz I: sie sey The nlul/iplicaliQ is the division of a dis-
ill einer Syncopa1ion oder Transitu :1 sonance (occuring either through aJ)'''''(}o
Zertheilung in 2 oder bipweilen mehr paliQ or transitus) into two or more parts.
Theile.

1'1 E)(empla in Tran situ.

MUL TIPLICATIO : a subdivision of a longer dissonant note into two
or more notes. ~~ '::;
c<l: ~

In choosing the term mlilliplicatio for this figure, Bernhard focuses on

~ f:r; rcrc~~1' 6

a "multiplication" of one longer dissonance into numerous noles of

shorter duration, the swn of which equals the duration of the original
dissonant note. Because the mliltiplicalio does not actually introduce but

I . See 6tenJiQ.
2. See Tran,Sl/IiS.
I . See Retardatio. 3. See "arl(iII Q.
334 muwtiQ Ion; mlllatio IOn; 335

Changes to or of the mode within a compositi on are considered text-

expressi \ e musical devices long before the seventeenth-century Figuren-
lehren .' 1-loffinalUl refers to the transgression o f a mode's ambitus with
the rhetorical tenns redllndantia and ellipsis. Thi s musical device entered
Bunnei ster's Figllrenlehre as hyperbole and is called /icellfia by Herbst. 2
Furthemlore, a composer mi ght introduce chromatic notes which are
foreign to the mode in order to express the lex! or affection, a figure
Bernhard (Rerichf p.150) known as pathopoeia. l Bernhard lists the mllfalio fOlli as one o f the
Die Multiplication ist eine Verkleine- The mllltiplicQ/io is the subdivision of a
rung einer Dissonanz durch mehrere dissonance through numerous notes on figure s used in the sry/us /uxur;ans , bl discussing the figure, he mentions
NOlen in einem Clavis. Und ist zweyer- the same pilch. It is of two kinds: regular the pract ice of mixing authentic and associated plagal modes. as well as
ley; Die Reehtm!l.l}ige und di e Verl an- and extended. The regular mulliplicQlr o leaping to an unrelated mode in the middle of a composition. He then
"ene. Die Rechtmllpige ist, welche aus emanates OUI of the transitus regufaris or
dem Transitu Regulari henilhrend oder the fyncop alio and does nOI last longer adds that this is all to be explained in greater detail under his discussion
auch aus der Syncopatione, nichl Uinger than the preceding consonance. of the modes. In hi s introduction to the modes Bernhard then li sts the
al p die vorhergehende Consonanz wah- modl/S slIperjIwlS and mixtio modi, both methods of extending the mode
ret.
beyond the limits of its ambitlls into the rel ated plagal (or authentic)
mode. While modus superjlulls extends the range by one or two notes,
II mixtio modi is used to extend the tenor by a greater interval, thereby
"mixing" the authentic and plagal modes. Before discussing each particu-
Die Verl!!.ngene iSI. wenn die Dis- The extended multiplicalio occurs when lar mode, Bernhard mentions that there are five further mode "charac-
50nanzen l!!.nger wlihren atp die vorge- the dissonances last longer than the pre- ters" (a.!fectiones), which he defines later. The traflSpos i/io modi (trans-
henden Con50nanzen. ceding consonances.
position of the mode) allows the composer to set the appropriate mode
in a desired range. which requires a change in key signature, The canso-
II datio modi (connection of the mode) signi fies a use of both authentic
and related plagal modes in all voices, as opposed to only the tenor voice
as described by the mixlfo modi. Its most conunon application is found
Walther (I'r(l/~CepfO p.154) in fu gal composition where, in order to facilitate a tonal answer to the
Mu tti plieatio. lSI elner Dissonanz Ver- The mulfiplicalia is the subdivision of a
fugal theme, the intervals are adjusted to accommodate the related plagal
kleinerungdurch mehrere Noten in einem dissonance through numerous noles on
Clavi. Solche iSI zweyerley, nem. I ) die the same pitch. It is of two kinds. namely (or authentic) mode. The aeqllatio modi (equalization or adjustment of
rechlmllsige und 2) die verlangerte. Die regular and extended. The regular muffi- the mode) is used to effect a real rather than lonal fugal answer. The two
rechlmllsige Verk teinerung iSI diejeni ge, pliCDflo is one whim does IlO( last longer
welche nieht llinger wlihret, als die
modes are "equalized" by employing the same intervals in an answering
tban the pr~ing consonance. The ex-
vorhergehende Consonanz. Die verllin- tended mulfiplicOlio occurs when the dis-
gerte iSI, welln die Dissonanlien l!inger sonan ces last longer than the preceding
wllhren, als die vorhergehcnde Consonan- consonances. I. For a thorough discussion of this phenomenon. see Siegfried Meyer,
tien . "Abweichungen von den Nomlen eines Modus," an d Bernhard Meier, The Modes of
Classical r'QcaII'QIJphQny.
2. See HJperbale. Parrhesia.
3. See POlhopoeia .
M UTATIO TONI: an irregular alteration of the mode . 4. This devi ce is also associated with th e reperclltsia. which can refer to either the
altered inlerval or th e entire lonal answer. See ReperclIssio.
 336 mlltatio Ion; mUfQlio 101'; 337

voice as in the fugal subject. Instead of adjusting the intervals to aceom. R~el schreiten die heutigen Componis' day's composers frequently depart from
nidlt selleTI abo indem sic nicht allein this rule in that they nM ooly mix an au
modale the mode, the mode is adjusted to accommodate the intervals.'
;~ welches auch die Alte.n gethan :1 thentic mode with its plagal (which com
The extensio modi (extension of the mode) is used to explain fugal Ihentkum cum suo plagah vennengen. posers of the past also did). but also leap
entries on the various pitches of a mode's notes. along with the associ_ '" Idem auch aus emem . aut h o d er
entlCO from a plagal or authentic to wlolher
ated additional accidentals. This is only to Occur after the fundame ntal , ~ali in einen alldem in der Mitte der
"" mode in the middle of a composition.
? a" This will be discussed more fully at the
CO~lposit i on sp ringen. woran bey der
mode has been adequately established . As Bernhard menti ons, Ihis ErldaJUng der Tonorum mit mehrenn sol explanalion of the modes.
device not only extends the mode but also extends or prolongs a compo.. gedacht werden.
sition through various modulations to other modes. Finally. should a
(Trllctol/lS p.91 f.)
composition end in a mode other than the opening one, it is termed ModuS superfluus ist, wenn die Octave Modus ISilperflllUS occurs when the octave
a/leratio modi. Oberschritten wird. also, daj} 51ch efll [i.e. the eight notes of the ambitus] is
Orthe seven methods of mmario (orli, only modus superjhms modi- wedC!" ober oder lUller derselben eine Se- exceeded by either a second or a Ihi rd
cunde auch wohl Tenie findet . . . . Zu above or below (the ambitus). The mixlio
fies a given mode wi thout involving a different one. The remaining dent"n Superlluis gehOtm auen die Mixti. modi also belongs to this foml and occun
alterations all incorporate either related plagal (or authentic) modes. or wenn nehmlich ei n Tenor nlcht allein die when the tenor exceeds the octave nM
Wlrelated modes or key signatures. While deviations from the mode were Octave um eine Secunde oder Tertie only by a second or third but even goes a
Obertriffi. sonde m auch gar zur QUane fourth below or a fifth above it. They are
traditionally associated with affective text expression, Bemhard is untt"r dieselbe. oder zur Quinta drilber called mixli because both th e authentic
primarily concerned with discussing rules of counterpoint and their gehe!... . Werden daher Mixli genennet. and the plagal modi are perceived in
exceptions, without delving into the texHelatcd reasons for the devia- weit Modus authenticus und plagalis dar them. This will be discussed below.
innt"1I :tu spUren. davon bald unten.
tions. Like numerous other devices defined as figures in his Tractatlls
but not c learly associated \v:ith dissonance, mllta(io tOl1i is not included (Tmclolus pp.93 , 97)
in the list of figures in Bernhard's Berie",. Affecliones Modorum sind I) Trans The different characters ofthe modi are
posilio 2) Consociatio 3) Aequatio 4) Ex Iran3pOSilio, conroe/otio. oequotio. ex-
The alteration of a mode is discussed by Walther in his Lexicon
tensio 5) Alteratio.... Weil die Toni tensia. and ollerotio . ... Because the
under the tenn mll(a(io. The various fonn s of 11I111a(;0 listed here also nidn aile so beschaffen, daj} sie im Tenor modi are not aJl constituted in such fa sh
include the mulatio per modum or /onllm , the comparable device to bequemlichen Sil:t haben kOnnen. als ion that they comfonably lie in the tenor.
haben die Musici dUTCh die Transposition musicians have remedied this through the
Bernhards various fonns of mliialio loni. tn contrast to Bernhard.
dt"fer &!nitoniorurn, Quarten und Quin. tronsposilio of the mode ' s semiiones.
Walther focuses on a sudden change in tonality or key rather than in tet! saleher Ungelegenheit abgeholffen fourths and fifths. thereby considenbly
mode. While Bernhard wishes to reconcile antiquated contrapuntal rules und die LiebJigkeit ziemlich befflrdert. increasing their chann.
with modem expressive devices, Walther focuses entirely on the expres-
(TractOlus p.98)
sion of Ihe text and the affections, using modern tonallanguagc. Thus Und ist Consocialio Modorum eine Consoeiotio modi;s a combination of the
the mlltalio per modum or tOllllm signifies a shift from a major to a Verei niglU1g des Authentici mit seinem authentic with its plagal or plagal with its
minor, or minor to a major key. provoked by the text or affection . Plagali. und des Plagalis mit seinem authentic mode. occwing in .....'0. three. or
AUlhCfltico in 2. 3. oder mehr Stimmer! more juxtaposed voices. Conroeiolio is
gegm einander gehalten. Consociatio ist distinct from ,,,;:fl;O. which was discussed
Bernhard ( Troctatll$ p.79) U11lerschieden von der Mixtione. davon above. in that the mixtio modi onl y oc
1m andem Capitel No.7 iSI gebothen. daj} In the sond chapter. no. 7. it was stated drObcn. Weil Mixtio im Tenor oder einer ctir:s in the tenor or another single voice.
eine jede Stimme sich nach einen derer that evel)' voice of a composition must Slilmnen allein. Co nsociatio aOO in meh consocia/io modi. however, in mote voic
12 Modorum richten solie. Von solcher confonn to one of the twelve mod es. To rem bestehet.
".
(T,.actauu p. I 02)
I . The polyptOlon as well as Burmeisters early descriplion of pafi/ORio can be Aequati onem Modi nenne ich: wenn AeqllQtio modi occurs when. in order 10
understood to signify a similar de\'ice. See Polilogio. l'olyp'OIon. eillcr Quartae. Quintae. Sextae oder Oc1a- maintain a fourth. fifth. sixth. or octave
338 mutofjo toni nvemo 339

Vile W gefallen, die andCTc Stimme ciner (of the subjectl. the second voice of a c) Wenn. lUll einigen Affect:l;lI exprimi. (c) whet. the affection is expressed by
Fugc nidil in dem nkhsten verwandten. jllgo does not proceed in the Dearest re- reno aus dnem Modo in einen andem progressing from one mode to another.
sondem in cinem sotchen Tenor (on- lated mode. but rather proceeds in such a gegangm \\~ rd. :I;.E. ~us dem t.~odo for example from the minor to the major.
flIhret. weicht der ersten nUl" ratione der mode that it is similar to the subject only ru inore in maJorem. & VIet! versa. Dltses or major to the minor. This is called
Quanae ode! Quintae Ihnlich in. on account of the fourth or fifth. heissel: Mula.io per Modum aut Tonum. nmlOtio IJer mOtlum or (onum .

(TraCfalUS p.l 06) d) Wenn man \on einer Manier. z.E. (d) when one digresses from a certain
Extensio Modi is! ciner Composition Extentia modi is the eXlention of a COm. mannl ich und stMck ZII singen. so mao musical manner. for exan1ple a masculine
Verlangerung, nllchdem solche den To- position after iu modlls is well estab- niera di s.cndenh.' heisset. abo lind in eine and STrong one. called moniera dislen
num genugsam geformiret, geschehend lished, and occurs through all the eight angen eh lllele. ohumlkhligere. weichere deme. to a more pleasant. gentle. femi-
durch aile Son05 det Octave. Zumahl noles of the modus. espedally the fifth und we ibische. so maniera restringente nine one. called maniera restringeme. or
durch die Dominallles. Und wird dem 1u- one. How soon he employs the extensio genell net "ird. gellet; oder in cine ruhige to a gentle and peaceful one halfway be-
dicio und der Gelcgenhcit des Composi. and how long he uses it to remain outside Wid stille. so d:.s Minel zwischen gerlach. tWttl) the abo\'e two. called maniero
toris anhcim gestellet, wit bald cr sich the boundaries of the modru is left to the ten beydf."n isl. un d maniera quieta heis- qllie/o. This alteration is called mutalio
der Extension gebrauchc. und wie lange judgment and opportunity of the COlli- set. gehc!. Dlcse Verinderung wird per me/opOf:iam.
Ct durch dieselbe luper denen eigentli. poser. genennf."t: Mutat io per Melopoeianl.
chen Schranken des Modi bleiben wolle.

(TraclalUS p.l OS)

Alleratio Modi ist, wenn tin Srilck sich in Alteralio modi occurs when a composi. NOEMA: a homophonic passage within a contrapuntal texture.
dem einen Tona anflinget, und in einem tion begins In one mode and ends in an
andem endiget. other.
The lnusic(1\llOema reflects both the lileral meaning of the term as well
Walther (Le.xicon) as its rhetorical content. The focu s on a significant thought (noema)
Mutatione (ilal.) mutalio (Jal.) bedeutet Mu/atione or mlliotio means: (I) the
I. ) in der Solmisation die Verwechse- exchange of syllables in solmization;
effects a recognition (noeo) of the idea' s sign.ificance. The rhetorical
lung det Sylben. wenn z.E. im g-Clave when for example now an lit, now a reor lIoema refers to an expression which carries a greater significance than
bald ut, bald re, bald sol gesungen wer- a sol is sW\g on the same line in the G the words appear to have.11lis "recognilion of thought" is distinct from
den mup. 2.) cines derer Accidentium, so clef; (2) when an accidental is added to
in Ordnung der Kl!nge, welche eine
those figure s which intentionally omit or suppress Ihoughts or words
the notes of a melody or composition.
Me10die oder Guang IUS machen, vor- Such an accidental is added because ofan (aposiopesis . ellipsis). for the thought is not suppressed through the
kommen; welches Accidens durch eine alteration. which can occur in four fonn! : "oema but is expressed in an obscure fashion. t This obscurity is also
Verllnderung auf viereriey Weise
unlike the rhetorical emphasis, in which an implied meaning is not
geschiehet und verrichtet wird:
hidden but is clearly understood in conlext. An orator uses this figure
a) Oa man das Gmus ver!indert, d.i. 1IW1 (a) when the genus is altered, th at is to imply the unspoken through some obscure parallel reference.
dem Genere Diatonico ins Chromaticum when the genus dia/onicwm is changed 10
The lIoemQ is defined as a homophonic passage by Burmeisler,
ocIer Enhannonicwn. und umgekehrt. aus the chroma/jcwm or enharmonicllm or.
dem Chromalico ins Diatonicum gehet, conversely, th e chromo/icutll into th e Thuringus. and Wahher.2lt is to conlain no dissonances but rather is to
etc. dieses heisset: MUlat;o per Genus. diotanicum. etc. This is called mulalio
fJer genus.

b) Wenn man einen Gesang aus einem (b) when a voice is allowed to faJl from I, TIle following is 1111 example of the nvema. provided by Susenbrorus: Hortensius
seh! hohen Klange in einen tieffen abstei- a very high pitch 10 a low one, in order to denied bei ng reconciled to his mother or sister; what is meant. however. is that his
gen l1tsset. urn einige Text Worte zu express the words. as in the text: "who relat ionsh ip with them was never broken.
exprimiren . Z.E. qui in altis habitat & dwells on high. and considers the lowly. 2. H uml~ister also lisu four additionalnoemo figures. These include the onolepsis,
humilia respicit in coelo & in terra. Die- in heaven and on earth." This is called a noerllQ repeated at the same pitch; the mimesis. a noenw repeated at a different pitch;
ses heisset: MUlatio per SyStema. mlliotio per systema. th e (/lIopl<>ce. an eehoed lloema in polychoral lllusi c; IIIld the anadiplosis, a repeated
mimt's.s. or a fou r fold noema.
 340 llvema nvema 341

consist ofa collection of bare or unadorned ( nudlls) consonances. Ernesti toi~ r::pciYIl(w~ constan t et ab clocu- stood meaning, in as much as they are
mentions that the rhetorical neoma can be recognized through its wlique tioll e. i-.PII1]vEiq: differunt. constructed specifically for these pur-
poses and differ in meaning from the rest
construction. which is differentiated from the rest of the oration. This
of the oration.
understanding of the figure applies equally to the musical noema. In his
definition in Musica Poetica, Bunnei ster explicitly states that the noell/a Burmeister (l~\pol1lllemalllm)
N~1lla est collectio nuda!1.l1ll concordan- The nvema is a collection of pure conso-
can only be recognized in the context of the composition. It does not nances in a Wlique alteration which stim-
lianlfl1 quae suavissime aUTes afficit. Wli-
refer to a homophonic passage per se but rather only to such a passage ca vice ad eas delata. ulates the ears most agreeably.
within a contrapuntal context. The homophonic section stands in contrast

~t
to the surrounding texture, thereby lending it and the associated text
greater emphasis and significance. The obscurity of the rhetorical figure
:::
is not a characteristic of the musical figure. Brandes has clearly demon- I 'r' 9 I
.I I '.I
I r I
.J.
strated the widespread application of this device going back as far as
Dufay.1The device is consistently used to underscore particularly signif-
-

ir -f I
b.
I t' FFI
ifgp r I
icant phrases in the text of the mass or in motets. Bunneister's exampl es

!W - r r F I ,j
also reveal that the noema consistently coincides with the climax of the
2
text. Furthennore, the figure is used to highlight expressions ofinvoca- I =*= I c~ J J @
~
tion or salutation, for example of the Trinity, Christ. the Blessed Virgin,
or of various saints. As such. the "oema can be used as a fonn of exc!a- , J , I I .
mafio. ]
~, ~
QlJintilian (blSlitutio vrn.v.12)
I
:r.Qi=F' ~ d
Este!:. quod appellatur a novis noema qua
voce omnis intellectus aecipi potest: sed
There is also a figu re called ll oema by
modem rhetoricians through which ev-
~
hoc nomine donarunt ea quae non diclU"lt. erything can be understood through the
verum intelligi volunt. speech. However. they use this term \0

~E J I
signity those thin gs which are not said
but can in fact be understood. I~ I
Susenbrotus (Epilome p.I OI)
Noema N01]PoIl est quum teete signifiea- The noema occurs when we make veiled Burmeister (MI/sica Poelica p.59)
mus. quod auditor ex sese divine!:. Vel est allusions which the listener will ded pher No~nJa \lOfJ ll a estlalis harmoniae affec- The noema is a condition of the harmo-
obseurum dictum alicui appositum. on his own. Or it is an obscure but close- tio. sil'e periodu5. cujus habitus voces nia or periodus characterized by uni ted
ly related expression of something. conjunctas ha bet in eadem sonorum voices with the same number of notes. It
quantit ate, aures, imo & pectora suaviter is most agreeably stimulating and won-
Emesti (Le.licon GmeCOl"lIm) afliciens & mirifice demolcens. si tern- derfully soothing on the ears and spirit if
Vulgari et passim obvia significatione Expressiol\5 are called noemala on ac- p~sti\"e introduci tur. .. . Hoc omamen- it is appropriately introduced.. .. Be-
\lOtilllltll dicuntur sententiae. quatenus COlml of their common and widely lU"Ider- tum. prout ornament; panes explet. non cause of how it completes the pans. th is
ex nudis hisce exemplis notescet. sed ex ornamenwm is not recognized through
ipso integri carmin;s contextu. Quocirca isolated examples but rather in the con-
perlustral\dus erit ejus integer contextus. text of the entire composition, wherefore
I . Brandes, Swdien :lIr mll.fikalischen Figurenlehre. JO. vel integra Hannonia suis vocibus deean- the entire context of the composition
2. Ruhnke. Burmeister. 151. landa. ac twn demum se hoc manifestabit must be examined or the whole composi-
3. See Xdamalio . Om31l1entum. tion must be Slmg with all its voices.
342 pa/ilogia pnlilogia 343

Only then will the omame"tum manifest repeats a theme in the same voice but at different pitches. It thereby
itself as such.
assumes al least in pan the role of the "old" palilogia. The palilogia no
Thuringus (Opusculum p.126) longer appears wi th the other fugal figures in the category or figurae
Quid est Noema? Est coHectio nudarum What is a "tHmo? It is a collection of /larmol1iae but rather among thefigurae melodiae, along with the climax.
concordantiarum Wla vice suavissime in pure consonances. most agreeably re- Apart from \\'alther. \\ho defines the figu re in pure ly rhetorical tenns,
MOIetis prolals. vealed in motets through a singular alter.
nation. palilogia is nOllllenlioned in other musica l Figurenlehren. Rather the
device is repl aced with other figure s s uch as anaphora, repetitio, and
Walther (Lexicon )
mimesi.~ or imiralio .
Noema. heiss.et in loach. Thuringi Opus- The "Demo is defined by Thuringus ...
culo Bipartito. P.l c. IS so viel. als collec- as a collection of pure consonances, moSt
lio nudarum ooncordantiarum uno vice agreeably revealed in motets through a Su~ellbrotus ( Epitome p.53 )
suavissime in Motet!is prolata. d.i. ein singular al ternation, meaninga passage in Anadiplosis. RedUpJi C8Cl O. est cwn ultima The {l//(J(lipJosil or redupUClltill occurs
solcher Satz. worinn lauter Consonanzen prioris commltiS dkuo in seq uentie initio w hen the last word of a preceding pas-
which pure consonances are simulta.
auf einmahl gehOn Wld hervor gebrach\ neously heard and produced. ilerawr. . . Haec etiam l'Hl'. AtAoyia sage is reputed at the beginning of the
werden. nomina\ur. following one. . . . This is also called
poliJogio.

Peacham ((jordell firEloquence p.47 )

TIlis exomation [anadiplosis] doth nOI
PALILOGlA: a repetition o f a theme, either at different pitches In
onely setve to the pleasantnesse OfSOood.
various voices or on the same pitch in the same voice. but al so 10 adde a ccrtai ne increase in the
s~ol1d member. Of some this figure is
called the Rhet oricall Eccho. for that it
The pali/ogia is described in music and in rhetoric as both a general and
carrieth the resemblance of a reooooded
a specific fonn of repetition. ln addition to being an alternative term for vo ice. or itera ted sound
a"adiplosis, palilogia also signifies a more general repetition of a word
for the sake of emphasis.1 Peacham also suggests a similar understanding Bunneister (f(\ pOlmrema/um)
Palillogia est aff~t ion ; s roo
1l0.. EO~ non TIle p(llilogio is a continual repetition of
when he supplies the alternate term. Rhetoricall Eccho. His further in iisdem perpetuo locis iteratio. Ihe structure of lhe melos but not at Ihe
comment, "that it carrieth the resemblance of a rebounded voice, or same pilch.
iterated sound," is particularly applicable to a musical figure. ,
Bunneister supplies hvo definitions for this figure . In his Hypomne- .
~
~
matum he discusses the device among the other fugal figure s, hypaJlage,
~'
~ I I
apocope, and paremoble . The repetition of the theme occurs in all the f
voices at various pitches, as is clearly illustrated in his example. As such
it is a more general fonn of repetition. In hi s later Musica Poelica Bur-
meister places two limitations on the repetition: it must occur in only one
~
-
I :
=t I ' l
~ :I

voice, and it must be at the same pitch. Simultaneously, Burmeister

introduces a new figure into his Figure,,'ehre, the climax, which also
-~~H;_ ~ n~J tli# frr ~ {Hi I:: I
!;j:f-;-{~iF I~rH If f I: I
I . H einrich Lausbe1'g, Elemente der literarilchen Rhelorik (Mooieh: H uebner,
I%O},43.
 344 paragage paragoge 345
Burmeister (M'ISicQ Poe/iea p.63)
is also used to refer to the neck of a plucked instrument I as well as to the
Pali110gia Ttai.d.,l,.oyia est ejusdem tOU The palilogi(1 is a repetition of either th e
~O,,OI.; affectionis sive lraclu]i in iisdem entire or only the beginning oflhe stnlc_
draw knobs on an organ. 2 Whether Nucius seeks to relate an organ's
sanis, nonnunquam omnibus, interdum ture oflhe melos or theme on the same draw knobs to the pedal point in the figure or simply wishes to refer to
vero initialibus. in ulla eademque voce pitch in the same voice. occurring with or the ornamenl as an added cauda (appendage, handle) remains conjec-
intercalatis quibusdam pausis. vel etjam without intervening rests in all events in
nullis. iterati o, quae in unica saltern fit one voice, tural.
voce, Thuringus fi nally integrates the device into hi s Figure"lehre and
supplies it with a rhetorical tenn, paragoge. This rhetorical figure, like
its musical counterpart, also signifies an extension, specifically that of
III a word through additional letters or syllables. Like Nucius, Thuringus
also points to the frequent use of the device in motets. Walther lists the
Walther (Lexicon)
Palilogia heisset; wenn einerley Worte Thepali!agia refers to an all-tOO-frequent
figure only under paragoge in his Lexicon. where he defines it as an
allzllofR wiederhohlt werden. repetition of the same words. improvised cadenza rather than as the compositional cauda described
by earlier authors. Being a wellknown and accomplished organist
himself. he would have been intimately familiar with the technique of
PARAGOGE. MANuBRIUM, SUPPLEMENTUM: a cadenza or coda improvising over a pedal point at the final cadence. The musical sub
added over a pedal point at the end of a composition. stance of the figure still coincides with that described by the other
authors. even though he allows for the perfonner to add a paragoge
The tennsparagoge, manubrium, and supplementum all refer to the same extemporaneously.
musical device : an extended embellishment of the final hannony through
Susenbrotus (Ep/lOme p.22)
figurative elaboration in two or more upper voices. The device only
Paragoge Diductio. est literae vel syUabe The paragoge or diduelia is an addition
gradually made its way into the musical Figurenlehre , at which point it in fine dictionis addit io. Literae, ut apud of a letter (hOSlis instead of hostl) or syl-
was also given a rhetorical name. Bunneisterdoes not discuss hisslIpp/e- PlaUlum. hoseis pro hosti. Syllabae, Et lable (EI Summa dominari[erJ arce) at
Summa dominarier arce. the end of a word.
mentum among the figures but rather chooses to place it in the preceding
chapter of rus Musica Poetica dealing with the ending of a composition. Burmeister (MlI1ica Poeliea p.S3)
Although Burmei ster chooses a nonrhetorica l and rather pedantic lenn Fine dato. nonmunquam adic:cta reperilUr AI the end [of the harmonia] an added
for this musical device. it is of interest that he associates the embe\lish~ affectio sive trsetulus, qui voeem unam, structure or passage is sometimes found
vel plures voces inter plurimas, ad quas in which one or more among the voices
ment with the expolitio ("Supplementum ... est . .. expolitio"). The Hannonia exerevit. in sono iIIo qui Fini of the harmonia end and rest in their final
rhetorical expolitio occurs by dwelling on a certain topic for some time. dando competit. sive hic Primarius, sive notes. be this in the primarills or seeOfl-
continually repeating it in various fonns or through various expressions. I Seclmdarius sit. habet consistentes, & a dan'us. while the remaining voices elabo-
modulamine quieseentes. circa quas reli- rate around them for two. three. four . or
Nucius appends the ornamental device to his Figllrenlehre, expressly quae voces in Hannonia circumcirca am- more measures. They present nothing
stating that it should be added to the above fi gures. He replaces Bur bulant ad duos. tres, quatuor pluresve more than harmonic va riati ons which
meister' s tenn with manubrium, which is likewise a nonrhetorical term tact us: nihil aUiem aliud praestant. quam could be: assigned to one note and thereby
ut variationes hannonicas. quae uni sono most clearly fashion the introduced end-
and is not adopted by following writers. Manubrium. meaning "handle."
attribui possunt. ostendant, finemque ing.... This passage is called harmoniae

1. Sennino. Handbook. 93 . Mattheson also mentions the expo1ilio in his discussion

I. lanovka. rfa~'is
ad Thesaurum.
of the fugue. See Fuga.
2. Walther. Lexicon.
 346 parembole Jlarembule 347

introduClum esse maxi me planum faeiant. supplemenillm, that Is. an expolitio or to stand on tbeir own without the other.
... Hun t tractu lum vocan t Hannoniae embellishment of the ending stationary
SuppJementum, quod est Finalis soni
The meaning of the musical parembole is clearly discernable both
voices with various in themselves harmo-
vocis consistent;s cum variis secum nizing notes of the remaining unit ed front Bunl1eister's definiti on and his example. The added voice begins
consonanlibus sonis reliquarum yocum voices. the ending of the musical compo- only at the second entry of the theme. at that poim filling in the hannonic
cum se in hannoniam unitarum expolitio. sition thereby being introduced and given structure. Ilowe\ er, like the rhetorical parembole, the additional voice
finetn t annin; music; illatum esse:, & da- clarification.
tum docens. does not affect or alter the fugal rafio or structure . Were it to be omitted,
the juga would nonetheless remain intact. For lhis reason Burmeister
Nucius (Musices Poe/iea, p.GJ') includes the dC\'ice among hisjigllrae melodiae. It is neither one orthe
Hue quoque Manubrium pertinet, quod The manl/brium also belongs here. which
est cum in fine Harmoniae duae aut pl u- occurs when two or more voices add an
fugal figures. all considered to befigurae harn/oniae, nor is it considered
res \'OCCS cauda adijciunt. Huius corn- appendage (cauda) at the end of th e har_ among the /alii harmolliae quam melodiae figu res. Rather than signifi-
position;s usus & imitalio. cum fere in m onia. The use and imi tation of this cantly siructuring or altering the hannony through the addition of another
omni bus Motetis sit hodie frequen. compositional device are presented here
ti uim us, docebunt. melody. it simply fills in the hannonies which are already implied.
because it is applied mOSt frequ~tly
nowadays in virtually all motets.
Quinti lian (1l1srillllio VlIJ. ii .IS)
Thuriugus (OpI/sc lilum p.127) Etiam interiectione (quo el oratores et Furthermore, through the inl eriectio
Quid est Paragoge? Est, cum in fine What is the pamgoge? It occurs when at historici frequenter utuntur, ut med ia (whi ch orators and historians frequently
hamKlniae duae vel plures voces caudam the end of the harmonia two or more sennone aliquem inseranl sensum) impe- use to insert another thought into the
adiiciunt, quod hodie fere in omnibus voices add an appendage (cauda), wh ich diri solet intellect us, nisi quod inter- middle of a sentence). the Wlderstanding
cantionibus fieri solet. is nowadays usually employed in aU ponitur breve est. ofa passage can be impeded iflhe inter-
compositions. ruption is not kept short.

Ernesti (Le.licoll I.m. Rhet. )

Walther (Lexicon) (Parembolel Haec fit insert a aliqulI The parembole signifies a certain inser-
Paragoge 1t(lpayoy~ heisset: wen" in The parugoge occurs when something is sententia. quae pn' se coMistit, ut $i earn tion in a sentence which can stand on its
einer Cadmz noch dWas angehlinget appended to the cadence which was not. lollas. cetera sah'o maneanl. own bUI, were it removed, would leave
wird. so nicht expressc yom Componi5len however, expressly included by the com- the remaining thought intact.
hingesetzet worden, sondem vom Execu- poser but rather added by the perfonner.
tore aIlgebl'acht wird; von napa praeter. Bunneisler (~Iponmemalllm)
Wld uyt>. duco. Parembole est sonorum quotundam a The parembole is an interjec1ion Ullter-
\'~ aliq u3 ad alias. Fugae affec1 ionem jectio) of certai n notes through an addi-
aemulantes. ad mi xtorum interjectio, tional voice. emulating the fugal structure
nihil ad fugaln (.'Qn fer~s . wi thout being a pan of the fuga.
PAREMBOLE, INTERJECnO: a supplementary voice in a fugue
which fill s in the hannony by proceeding parallel to one of the fugue 's
regular voices.
.J
Both the musical and the rhetorical parembole signify an interjected
passage which is not considered essential to the structure or meaning of
the original passage. While Quintilian warns that the interjection can Bunneis!er (All/sica PfHtica p.62)
Parembole ;1O:PE~PO),;il est quando dua- The parembole occurs when another
lead to confusion ifit is not kept short, Emesti Wlderscores the independ-
bus vocibus vel etiam plu ribus, fugae voice is added to two or more voices of
ence of both the interjection as well as the original thought: both are able affectionem ab initio cantus perse- thefi/ga stmcture at the beginning of the
quentibus. admiscetur alia vox, quae cum composition. The added voice proceeds
 348 parenthesis parenthesis 349
ilIis alterls pariler procedil, nihil ad alongside the other voices without chang. However. wltile Bernhard and Scheibe wish to explain certain musica l
Fugae naturam vel rationem conferen ~. ing the nature or sense of the Jugu. but
sed tamum vac ua concordantiarum loca rather only filling in the mi ss in g conS()_ devices. Mattheson wishes simply to describe possible methods of
inler illas voces Fugae ~(~TJIlO: exst:- nances in the space between the voi ces of expressing the text. Thus the hererolepsis or hyperbaton become various
quentes. rep lens. the/uga by m imicking their progreSsion. meanS of expressing the parenrhesis. L

QUUlt ilian (lnstitutio [x.iii.23)

Unum quod inlerpositionem vel inler One of these figures we call interpO.filio
PARENTHESIS : a musical representation of parentheses in the tex!.
d usionem didmus. Graeci naptv6E:ol v, o r illterclu.rio, which the G~ks call pu-
no:p Jl 1ttwOt \. VOC8flt, dum continu- relllhe.f;s or parempfO.fi.f. Th is occurs
The representation of pWlctuation marks fOWld in the text of a composi_ atlOni sennonis medius aliqui sensus when the flow of the oration is inter-
inlervenil. rupted in the middle by another thought.
tion is certain1y not new or unique to Baroque composers. The Renais-
sance practice of structuring a motet according to the caesurae in the text Malt heson (Ca~lImeister p .194)
is a well-known device. N umerous sixteenth-century authors emphasize Gleichsam par parenthese ein Paar Wone It wo uld not be inappropriate to say a few
\'on der Parent hesi seiber zu machen , words regarding th e parefllhe.ris in paren-
the artistic value and expressive content of the pause and the cadence. !
dUrffie sith hier vieleicht. zum Beschlup thet ical fashion here at the close of the
Mattheson discusses the parenthesis in the chapter of his Capellmeisler dieses Haupt-Stllckes, nicht Ubel schic- chapter. This caesura is an interjection
which deals with the sections and caesurae found in the composition's ken . Dieser Einschn itt ist ein Zwi schen - occurring when certain words , which arc
tex.t. Like generations of writers before him, Mattheson recommends that SaIl. da gewisse Worte, die von den ilbri- separated from the others by the brackets
gen gleichsam dutch einell solchell Ein- ( ), interrupt the flow of the oration' s co-
the composer pay close attention to the text 's punctuati on marks. In- schlup ( ) abgesondert sind. den Lauff htsion somewhat. This device is certainly
cluded in this chapter are also discussions on the musical representation M s Zusanunell hanges im Vonrage ein not very musical and, as far as I am con-
o f questions and exclamations. While these two forms of expression and weni g unterbrechen. Das Ding ist eben cerned. could take leave from melodi c
nich t sehr mus icalisch. und mlSgte composition. However, because it does at
pWlctuation are included in other Figllrenlehren, the parenthesis is only mein entwegen geme aus der meloclischen times appear in a rias, more frequen tly
mentioned by Mattheson.2 I-lis concern in thi s chapter is not to identi fy Wi ssenschaffi Url aub haben. Wei l es and s uccessfully in recitatives, the com-
and di scuss specific musical devices but rather to encourage the com- aber doch bisweilen in Arien, mehr und pose r who wishes to deal with such
offters aber illl Rec:itativ m it hessenn bracketed words properly must on ly con-
poser to be resourceful in setting the text. As such, each punctuation Fuge_ \'o rkOI1\flIt , so darff derjenige, der sid er to what degree the proposed inte r-
mark of the text could be given a Wlique musical interpretation, depend- mi t solchen eingeschlossenen Worten jection digresses from the mai n thought.
ing on the text itself. After quoting a certain text which includes paren- rich ug venahlen will. n ur e rwegen, ob The melody s hould then also be inter-
sein \'orha bender Z wi schen -Satz viel rupted either more or less accordi ng to
theses, Mattheson suggests that this particul ar text might be expressed oder wenig von dem Hauptzwec:k der the circumstances of the text. ... Shoul d
thro ugh a drop in the melody "to the point of sounding like another Rede abwei chet: maassen die Melodie suc h a text be sung, the melody should
voice, for example dropping at least a fourth or fift h from the middle o f nach solchen Umstlinden auch wenig drop to the point of sounding like another
oder viel unterbrochen w erden mup .... voice, for example dropping at least a
the soprano to the middle of the alto." Although this is only one possibl e
Sol he solches gCSWlgcn werden, so milste fourth or fifth from the middle of th e s0-
musical realization o f parentheses in the text, it does bear a slriking wo l der Gesallg so weit herunter treten, prano to the middle of the alto.
resemblance to Bernhard 's hererolepsis and Scheibe' s hyperbaron .l als erwa aus der Mine des Soprans in die
Mine des A lts. wenigstens eine Quart
oder Quint. als wenns eine andre Stimme
\\ lire .

I. Ruhnke quotes excerpts from Gallicus (1520), Listelliu5 ( 153 7), Rhau (1538).
Dressler (1563). and Calvisius (1592) regarding the observance of pauses in music an d
text (Burmei.fler. 135fT.). See also Pall.fa. I. In another example. Mattheson suggests that the parenthesis in a text for a cho ral
2. See &c/amalio. Interrogotio. composition be s ung by a soloist. after w hich the c ho ir return s. He also warns against
3. See H elerolep.fis, HyperbolOll. the use of pauses to expreu the porelllhe.ri.f.
 350 paronOln(l$/a po/'o/lomasia 351

PARONOMASlA : a repetition of a musical passage, with certain addi_ Quilltilian I flls/ilillia IX.iii.66.61)
tions or alterations, for the sake of greater emphasis. Hille est npO\"OfL(tO(<<, quae dicilUr The parolloma:n'a or adllominalio also
adnOtni!l3Iio. E~ non lIno modo fieri s0- belongs here. It consists of more than OIlC
ld: ex \'icinia quadam praedicti nominis fonn: silnilar ~ubsequelll words can be in
This figure of repetition enters the musical Figurenlehre relatively late. duclll casibus decii nat,. , . et cum verbo different cases, ... or the same word can
Mattheson is the first to mention the figure in a musical context. He idem verbum plus significans sub- be repeated with greater meaning.
lungitur,
maintains that the paronomasia, among other figures, is rooted and
familiar equally in music as in rhetoric and therefore requires no further (iottsched (HedekIlW;1 p.276)
explanation. Scheibe adapts Gottsched 's paronomasia as described in l'aronomasin. we nn sich die Worte nur l'arolloma.fia. when the ..... ords onJy
reilllen. rhyme.
his Crilische Dichtkunst, a definition which is then adopted by Forkel.
Although the term literally means "additional name," and signifies a Gottsch~d ([)Ic/alumsl p.324)
repetition of words with changes in case endings in classical rhetoric !Jie IX. ist die Verslarkung, (Parono- The next figure. the paronomosia, occurs
l11asia) wenn man zwar ein Wort oder when a ..... ord or saying is repeated but
Scheibe also adopts Gottsched ' s translation of the Greek term with
rine Redensm1 . die schon da gewesen. with an ad dit ion which produces an ex-
"amplification" (Verstiirkung). Both the rhetorical and the musical wiederholel; aber mit einem Zusatze, der ceptional emphasis.
Figurenlehren gradually evolve into concepts which emphasize the noeh eincH besondem Nachdruck verur-
expression of affections above all else. Concern regarding technical sachet.

devices give way to a preoccupation with affective expression. Simple Mallheson 'apellmeis/er p.243)
repetition "asswnes its greatest benefit only when it is combined with Die Epnnalepsis. Epistrophe. Anadiplo- The epallolepris. epislrophe. al1adiplosir,
sis. Paronomasia. Polyptoton. Antana- poratlomasia. polyplalon, an/anaclasis.
the paronomruia." The repetitions can involve additional notes or chang-
d asis, Ploce etc. haben wiehe natUrliche ploce. etc.. assume such natural positiOlls
es in dynamics or rhythm. However, in all cases "the repetition must Stellen in der Melodie, da!} es fast schei- in music that it almost seems as if the
strengthen the emphasis of the expression and must lend it a singular net. als ha!len die griechischen Redner Greek orators borrowed these figures
sothane Figuren aus der Ton-Kunst frolll the art of musical composition. For
beauty." The figure suggests a new music aesthetic, one which is no
Cfltlehnet: deml sie sind Jauter repeti- they are purely repeliliones \'ocl(m. repe-
longer satisfied with the stationary dynamics and constant texture of tiones VOCUlll. Wiedemolungen der Wor- titions of words, which are app lied to mu-
Baroque music but wishes to express the "individualization of general te r. die auf ve rschiedene Weise ange- sic in various different ways.
sentiments," as Forkel puts it, through dynamically fluctuating and brachl \\crden.
evolving musical expression. I Scheibe (C I'ilischer MII.ricus p.691 f.)
Die VIle Figur ist die Verstlirkung. TIle next fi gure is amplification or the
(Paronomasia.) Diese ist insgemein mit pmoIIOll/(lSia. It is generally used in con-
def vorhergehenden Figur. namlich mit junction with the previous figure. namely
1. One might also speculate whether paronomosia played a role in Vogt's choice der Wiederholung, verbunden. Sie ge- the repelilia. The paranomasia occurs
of prOSOllomasia andpolyplolon in his discussion of Ihe musical-rhetorical figures. All schieht. WClill man einen Satz. ein Wort. when an already expressed sentence.
three tenus signifY altered repetitions of words. Funhermore, paronomasia is used as an oder eine Redcnsart. so schon da gewe- word. Of saying is repeated with a new,
alternative term for both palyplolan and prosanomasio (Sonnino, Handb ook. 24, 26). sen. mit einem neuen. besondem und singular. and emphatic add ition. It is used
Poronomasia can signifY either a general altered and emphasized word or a specific nachdrtickli(.:hen Zusatzewiederholet. Sie in instrumental and vocal music with
alteration of the case ending or other syllables. Vogt defines polypl% n as one of his wird in der Illslrumental- und Vocal- equal emphasis. Very frequent ly a few
figUral' idealer, while suggesting that composers should use prOSOllomaria (in addition musik mil gleichem Nachdrucke gebrau- notes in a passage are repeated with a
to h}POfJposis. prosopopoeia, and anti/helon) to express the text in an earlier chapter. ehe\. Die Arten ihres Gebrauches aber special and new short add ition which
(See p.151. above.) VOgl is possibly referring to the more general meaning of sind auch mancherley. Man wiederholet might on ly consist of one note. Funher-
paronomasia with the term prosonomasia in the earlier reference while using the term sehr oft ein paar einzelne Noten eines more. cenain passages can be repeated
polyplaton, signifying the more specific mcaning of paronamrL'lia, in his definitions of Salzes. und zwar mil einem besondem wi th the specification soft (piaI/O) or
thefigllrae ideales: a repetition at various pitches. See PolYPIOlon. Thus paronomosia und nellen kurzen Zusatze. der auch nur strong (fone). Similarly the last nOles of
becomes the Wlspoken combining link (a melabasis) between the other two figures. aus einer eim:igcn Note bestehen kann. a passage which were played by all pans
 352 JXlr..hesia parrht_fia 353
Mall wiederhoie{ femer einige Slitze. mit can be repeated wilh only one o r two
der Bezeichnung: gelinde (piano) und "ise the musica l parrhesia introduces ignoble elements into a composi -
v()ices. Repelitions of only a few notes
stark (forte.) Imgjeichen wiedeffio/C( man CIIJI also occur with II !;hanged or slower lion. namely forbidden dissonances. in such a manner that they do not
aucfl die I~em NOlen tines Satzes, def beat or with nOies of double duration. In cause offense.
vomer '"OIl. allen Stimmen gespielet wor- any !;ase. howeve r. the repetit ion IIIUSt
den, nliT mit ciner, oder zwo Stimmen The tenn licentia is used to describe both general and specific
strengthen the tlnphasis of the exp ression
allein . Es geschichl allch die Wieder- and must lend illl singular beauty. Simi. dissonances in music. In his discussion of the modes. Herbst refers to the
ho[ung einlger wmigen Noten mit ver1ln- lar repetitions Are frequently appli ed to transgression of the eight notes of a mode's range or ambitus by anyone
dencm und [angsamerm Takte, oder mit !lIe text in vocal music with very satisfac_
noeh cil1mal so viel geJlenden Noten.
voice as IicellIia or "musical freedom. " This definition of the term
tory results.
Allemal abeT mull so1ches den Nach- corresponds to Burmeister'S definition of hyper-Ihypobole and to Bern-
druck def Sache verstArken. und ihr cine hard's understanding of various forms of mllra[io [Ol1i. I Bernhard link s
besonderc Schonheit enheilen. Mit den
/ic(!l1ria 10 the general use of dissonance. In the context of his Figuren-
Wortefl in Singesachen pflegt man alleh
sehT oft dergleichen Verfahren mil smr lellre, which concerns itself chiefly with the proper use of dissonance,
guter Art anzuwenden. he equates the term with the musical-rhetorical figures in general. 1ltis
is clarified in his introductory description of the modern contrapuncllls
Forkel (Gachichte der Musil p.57)
Diese Figur iSI in der Musik cine deT ge- Iu.xurians, "which consists of nwnerous forms of dissonance use (or more
11lis figure frepelilioj is one of the mo~t
wHhnlichsten, und bekommt nUT danll common in musi c and asslImes its great- figurae melopoeticae which others call1icentiae).'' In his introduction
ihren meisten Werth. wenn sic mit der est benefit only when it is C<lmbined with to those figure s used in the stylus luxllrians, he reiterates this thought.
Paronomasie (Verstlirkung) verbunden the parOllomas;a (amp lification). The
wird. die einen Salz nicht bios so, wit er The name of the compositional style itself is determined by its use of
parOllonlo.fia does nOt repeat a passage
schon da gewesen, sondem mit neuen jusl as it already occurred but rather w ith dissonance, '\vh.ich others calilicentiae, because the dissonances do not
kriftigen Zuslitzen wiederllolt. Diese Zu- new and powerful additions. These addi- appear to be excused with the already mentioned figures." Up to this
sitze kOnnen thcils einulne TOne betref- tions might apply either 10 single notes or
fen. lhcils abel" aoch durch eioen ulirkem point, Bernhard had defined the passing dissonance (transitus) and the
can also be effected through a stronger or
oder vmnindenen Vortrag bewerkslelligt a ..... eaker delivery. suspension (syncopa fio). The remaining figures consist of certain free-
werden. doms or licenliae taken with these two basic forms of embellishing the
music and only appear to be independent fornls of ornamentation or text
expression.
PARRHESIA, LICENTIA: the insertion of a dissonance such as a cross Burmei ster introduces both terms,licentia and parrhesia, into his
relation or tritone on a weak beat. Figurenlehre. Wltile he names the figure parrhesia, the term licemia is
used to desc ri be the device in his Hypomnemalllm. The parrhesia is a
Through the rhetorical parrhesia a reprehensible thought is introduced brief dissonance falling on a weak beat in only one voice. It is therefore
into the oration in such fashion that it does not offend the listener. This numbered among thefigurae melodiae rather than among the structural
device is linked to the license an orator or author can take in freely figurae harmoniae. In his definition of the passing dissonance. the
expressing ltimself, which explains the Latin alternative for the figure. symblema, Ounneister mentions that the symblema minus, which occurs
licenfia. The Greek tenn refers specifically to free speech (from pall, all, only in the middle of a [actus. is not considered among the figurae
everything; rhesis, speech, conversation). Susenbrotus provides the
following example: "Pardon me if it appears that I speak freely. '" Like-
I . See liyperbole, MutaliQ Too;. In his discuuion ofthe modes. Praetorius similarly
uses Ihe tenll ficenrja: "Cujuslibet autem Modi Ambilus naturalis C<lnsistit quidem intra
Diapaso n : velUm per lkentiam, modo To nus, modo Semitoniwn cum inferiori tum
I . " Ignoscite, si videbor lIequo liberius dicere." Epitom e. 69. superiori loco adsci!citur." S}"nlQgma Musicum /11, 48 .
354 pa"hesju porrhesi<l 355

harmoniae because it does not significantly affect the listener, When B urIllci ~I er (!i.,/wm"c/IJ(lfum)
parrhesia Iii. qlllVlOO (Ollsonant;a Quinta The pan'hesitl occurs when inlervals such
such fleeting cross relations. tritones, or any of the other dissonances quae omnibu~ SillS panibus plena & per- as a sc"emh or other dissonances are
enumerated by Burmeister occur in the middle of a factus, they are fecta esse debet. im pel fC(la concentibus fr~ly mixeod illlo a hannonizing texture.

eX nlcra ]icentia CQlllmiscctur. skul & such as a fifih. which is to be complel~

counted among thefigurae melodiae as aparrhesia. Thuringus sununa-
Septima \cl alia lJi scordanlia. and ~ect in all ilS parts, making it im-
rizes the dissonant intervals mentioned by Burmeister with the phrase perfect .
nI; contra/a, which could signify trhones, other augmented or dimin_
ished intervals, and cross relations,l Burmeister, Thuringus, and Walther
all agree on the brevity afthe figure: it is to be employed in such fashi on
that no discord results. in the same manner that the rhetorical figure is
to be used without offending the listener.}

Quinlilian (Instilulio IX.ii.28) Bumleisler (M/mca ""w.ld/l'diaSllie )

Quod idem dictum sil d~ oralione libera. The same is lru~ in freedom of speech, Parrh tsia r:apPIlo(ct:\ ~st commiscere TIle " a/..-hesio OCClm whCll an interval
quam Comificius licentaim vocal. Graeci which Com ificius (Aucl. ad Herell"illm ) cum reliqui s conce nt ibus Uiapcnle. h .e. such lIS nn imperfecl or incomplele fifth.
TtIlPPTJo(av. Quid cnim minus figura- calls Ilcentia and Ihe Greeks calt par- Quintam non perfeCl:l1n & plenam, vel a minor sixth. or a major or minor sev-
tum quam vera libertas? S~d frequenrer rhesia . For what is I ~ss figurative than Diapente cum semilono vel Dilono. hoc enth is mixed into the other hamlOnizing
su b hac facie latel adu latio ... sed hoc Irue liberty? However, adulalion fre- est Septim<llll tam pJenaJn quam non \'oites. Perfect intervals are understood
~um derneretur, cuius mala fueral. quently is hidden under this device ... as those which can be neither increased
plenalll. Plenum inter\'allu m vel con-
and it obliges him whose cause was evil. centum intelligimus i!luill. qui potest nor decreased withom sacrificing the har-
citra jacturam harrnon iae. augmcntum mony. Imperfect intervals are Ihose
Susenbrotus (Epilome p.69) non asslUllere aut decremttntum pati: non which can be increased or decreased
UC~llIia (TtapPTJoia " loq uend i libertas) The Iic~nlia (pu"hesia. freedom of plenum. qui semil ollio pOI est vel adim- thro ugh a semilon~. such as Ihe minor
est cum in oralione libertale velmi speech) occurs when w~ strive to gain pieri. vel cui potest semilonium demi. third. Ihe second. Ihe maj or or minor
abutenl~s. aulorilatem nobis et fidem authority and trust through full freedom six th. lind the major or minor seventh.
quales COllCelltus sunt Semiditonus:
ooncilare sludemus. Praeslat haec ne in our speech. It is bener if this freedom Tonus: Diapente cu m TOllO; cu m semi-
offendallibertas. Unde ct in hoc adhibe- does not offend. This figure is used to
tonio; Will scmiLlitono cum Dilono,
mr. ut mitiget tibet-ius dicta. ne offendant mitigale the freely expressed words so
audilOrem. that they do not offend the listener.

Gonsched (Redeklinsl p.286)

Parrhesia. Wenn man eine verhaple Po"hesia. When a despised thought is
Sache n\'lT frey heTaus saget, 8ber doch freely ~xpressed. yet in an acceptable
auf eine ertrligliche Art vortrllgt und
etwas 7.U lindem su thel.
manner which aUempts 10 soften thc
thought.
~- 0 tu 0
II '
r I
n
u II
Burmeistel (,\fIl)/('(lI'()(.~IIC(l p.64)
PatThesia r:apP'loi(l\' est commiscere TIle j1mmesia is an intennixing of a cer-
I . See Tr(J/lS;/Us. Bunn~ister's definilion of s),lIIblelllo (Musica Poellca).
cum reliqu is tO IK'c mi bus Dissonantiam tain dissonance with the other hannoniz-
2. "Mi-fa." The New Hunard J)icliollary 0/ Mllsic (Cambridg~: Harvard University
unlearn. eamque ad dimidiulll totius. quo ing voices. It is placed in the middle of a
Press. 1986),493.
3. The introduction of dissonances into a composilion which Significantly affect the ipsi reliquae voces in ta CH! respondent. bent ill order that the other voices call
music's expressiveness is called /Wlhopoeio by Bunneisler. Although th~ same int~rval s resolve it within the beat.
may be involved as in th~ porrhesia, Ihe pOlhopoeia is distin8uished precisely through
its capacity to "leave no one untouched by the created affection." Furthennore. on Thuring us (Opu$c"hm/ r 126)
QUid eSI Panhlsia'l ESI (Ilin l\-ti CQnlra Fa What is the ptwrhisiu? It occurs when mi
account of its rolt in altering the nature of th~ entire musical textur~. the palhopoeio is
in quan:!. qu inta. \ el ~el1l pl ime ita in is set agai nst/a in the fourth . fifth, or SC\'-
included among thejigurae harmoniae. See POlhopoeia.
 356 parrhesia !,(Usus dilrillscllllu 357

contrapunclo inseratur, ut nullam discor- enth in such a manner that no discord P ASSUS D URlUSCULUS : a chromatically altered ascending or
danliam parial. becomes evident.
dt:scending melodic line.
Herbst (MuJica Poe/iea p.49)
Was ist Licmtia. oder Musicatischc: Frey- What is licenlia or musical freedom') The pasSllS dliri uscuJus is only encountered in Bernhard's Truetatlls , as
heil? Licentia iSI I wmn tin COlllponist Licellti(J occurs when a composer eilher
in dem Gesang (wenn es sonderlich def
are the related sallllS durillsclIJlls and cadenria duriuscula. Like these
does nOI fulfill or exceeds Ihe eighlnoles
Te.'Ct erfordtn) nach scinem beliebtn und of a mode's ambitllS according to his other iW O fi gures, passur dliriuscil/ur is not a rhetorical term , but rather
gefallen I mtweder die Octav ni eh! et- wishes and because of the particular a \'id d desc ription of the musical device: it is a "hard" or "harsh"
tullet I odtt aOO Ober di6t1bige etliche needs of the text. He migh t add an addi- (dllrilisclIlus) "step" or "passage" (passus), musically realized through
Notm schrcilet I entweder zu oberst dne tiona lthird higher or a second lower to
Tcrz.. oder zu lDllersl cine Secund, in def the OC/OI' of th e melod ic part. therebv
various uses of the semi tone. The familiar device of a chromatic or
Octav def Melodey hinlU selzet ! daher allowing Ihe mode normally to ellcon;. chromatically altered ascending or descending voice is not only fre-
gemeiniglichjedweder Modus dutch die pass a tenth through Ihe licemia or Frce- quently encountered in Baroque compositions but is also specifically
liccnl oder Freyheit I die decimam im doni. and all illles even beyond that.
auff- und niderslcigtn erfilllet l auch je mentioned in Walther' s definition of carabasis as a subjeclum cara-
zu Zeiten wol drilber kompt. barulll. 1 In addi tion, a number of musical-rhetorical figures expressly
refer to chromatic alteration, incJudingparrhesia and pathopoeia. The
Bernhard (Trocta/us pp.42, 71)
Contrapunctus luxurians ist, welcher aus The COIllraprmctlis fllxrr~iall.f consists in
pass liS duriuseulus indeed could just as well be explained as a form of
theils ziemlich geschwindtn Noten. seh- part of somewhat rapid notes and strfln~e palhopoeia,
zamen SprUngen, so die AIfeeler! zu be- leaps, which are suitable for moving th e The expressive content of a chromatically descending fourth , a
wegcn geschick! sind. mehe Anen des affections, of numerou s kinds of disso.
Gebrauch5 derer Dissonantzen (oder nance (or more figllr(lc me/op()f!licae
familiar and widely used specific form ofthe pasms duriUSCllius (sub-
mehr Figuri! Melopoeticis weicht andere which others call1icelrtiae). and is more jecrum catabatum), has been explored by a great many composers.1
Licentias nennen) mehr aus guter Aria so concerned with an appropriate agretmelll Eggebrecht points to the use of this fonn of the pass lIS duriuscillus as
zum Texte sich zum besten reimet, als between the melody and the text than th e
erwan der obige, bestehl.
a musical expression with a specific significance or semantic content. J
foregoing [conlroprmClr/s gral'is J.
As Heinrich SchUtz's pupil and assistant in Dresden. Bernhard was
Die andere Species Styli inaequalis isl The other species of tile S~l'/IIS InaH/utl/rs deeply influenced by the music of his teacher and mentor. Although
luxurians, welche ich so nmne wegen is "lXllriOt/S, which I give that nallle on
derer vielerley Arten des Gebrauchs deter
Bernhard' s Figllrenlehre focuses on the appropriate use of dissonance,
account of the numerous form s of using
DissonanUtn, welche andere Li~ntias dissonan ces, which others call1icenliae. it is always to be understood in the context of the Lutheran mllsica
nennen, wei len sie mil denen vorge- because the dissonances do not appeal to poelica tradition, which strives to express the text and arouse the appro-
meldeten Figuris nicht scheinen enlSChul be excused wilh Ihe already mentioned
diget zu werden. figures.

Walther (Lexicon) I. See Catabosis.

Pmesia heisset beym Thuringo Pan.2. Pon-hesia is defined by Thuringus , ' . as 2. Peter Williams provides ample examples of tile use of me descending chrornatic
Opusc. Bipart. wenn das mi contra fa in a setting of nri conlra fa in a Jliusical foun h throughout music history in his articles, "Figurenlehre from Monteverdi 10
einer musikalisc hen Composition also composition in such a mann er th at it Wagne r." Milsical Times 120 (1979): 476-79, 571 - 73, and "Encounters with the
angebracht wird, dap es keinen Obellaul causes no discord, Chromati c Founh," Musical Times 126 (1985): 276-78, 339-43. However, to link the
verursachet. FiXllre nlelrre of m usi~o poe/lca with the musi c of Beethoven, Verdi, 8lld Wagner is
$imply a gross misunderstanding of the conct'pt. That is not to say thaI the use or
exp re ssion of such a musical device throughout music history is unrelated. A clear
distinction muSI be made however, between the Baroque concept of musical-rhetorical
PA SSAGGIO: see JlARIATlO figures or Figurenlehre and the Jliusical devices which these figures describe or embody.
j, "Zum Fig ur.8egriff der Musica poetica," Archil' fiir Mruikwissenschoft 16
( 95 9): 57- 69 ,
 358 passw; dllriuscufrrs p(J{hopoeia 359

priale affections, thereby teaching and edifying the listener. This is the P ATHOPOEIA : a musical passage which seeks to arouse a passionate
intended goal of the music ofSchtitz and the purpose behind the writings affection through chromaticism or some other means.
of Bernhard. In establishing the pasSIIJ dlirillsClIllIs 's adoption of a
specific pathos~laden significance. Eggebrecht reveals how a figure can As the tenn suggests, pathopoeia (pathos , passion, affection; poeia,
be used as an exegetical tool. Not only can it reflect musically a particu- presentation. expression) signi fies a vivid representation of an intense
lar text but it can represent the adopted significance in combination with or vehement affection. in both rhetoric and music the figure is not limited
other texts or in textless contexts. In the same manner that the spoken to pathetic or anguished affections but can be used to arouse joyous as
sermon is to teach and edify the listener, so too is musica poerica to \veJl as melancholic or sorrowful affections, as evidenced in the defini-
preach rather than simply entertain. Should a musical-rhetorical figure tions of both Peacham and Thuringus, While Bunneister does not explic-
be suffic iently specific to take on a definite extramusical signi ficance, itly iimit the use of the palhopoeia to the pathetic affections, his refer-
it can become both an expressive device and an exegetical and interpre- ence to the use of chromatic notes foreign to the modus of the composi-
tive tool. Eggebrecht therefore differentiates between the more general tion does imply such an interpretation . Furthennore, his nwnerous
pathopoeia, which aims at movere, and the passus duriusculus, whose examples of words or phrases in compositions where the figure can be
goal is also "a certain teaching, admonishing, and pointing out of the found would support such an understanding. 1 Other Burmeister figure s,
meaning."L such as the h.\per-Ihypobo/e and parrhesia also pennit an introduction
of notes which do not belong to the given modl/s, The first signifies a
Bernhard (TraClafUS p.77)
Passus duriusculus. einer Stitnn1Cll gegen
transgre ssion of a mode's range, while the latter is a brief, passing
The pasS/IS durillsclII'15 within one voice
sich selbst, ist, wenll eille Stimme ein occurs when a voice rises or falls a minor dissonance. The tenninoiogy used to identify them points more to their
Semitonium minus steiger. oder Dliet. semilone. technical structure (''transgression,'' " licence") than to the "pathos repre-
sentation" o flhepathopoeia. Significantly, thepathopoeia is considered
a jigflra harmonia while the others nwnber among the jigurae melodiae, 2
II Although Bunneister periodically refers to the effect of a figure (for
e'xample, lIoema) or even the lack of effect (symblema minor) in other
Welcherley Glinge elOlge chro- rur These progressions some have held as
defmitions. the pat!iopoeia is the only one of his figures whose definition
matische Art Slitze gehalten, mit was VOt chromatic ones, the reasons for which contains an explicit reference to the portrayal and arousal of affections. l
Grilnde aber, solehes magen sie aus- they can fight out amongst themselves. It In contrast to Burmeister, Thuringus includes the whole range of
fechten . Oder wenn der Gang ZUt Se- can also occur when the step to a second
cunde allzugrofl oder zur Tenie zu klein. affections in h.is definition ofpathopoeia, or parl!iopoeia as he spell s it.
is augmented, to a third is diminished. or
oder zur Quarta WKI Quinta zu grop oder to a fourth Of fifth is augmented or dimin-
zu Ir.lein isl. ished.

Secunda abundans Tertia derden,. I. Texts in compositions which exemplify the palhopoeia are mon' dixnatu$ est.
Hell quanfllJ do/Of', crude/em monem, dalose agebam. nililier qlfia p/oras, and jlebant
II 2. It is precisely the brevity of the parrheJia which excludes it from being counted
among thc fifl,lIrae harmoniae, in spile of introducing the same dissonances as those
1m - pI- II. im - pI - II I, <;1- mus. employed in the pa/horaeia. See /'arrhesia.
3. The "affectiveness" of the musical-rhetorical figures becomes increasingly
imponant in fo llowing Figuren/ehren . While Bunneister considers a figure an
omarnett/llm which deviates from the simple composilionalnonn. Nucius and Thwingus
unambiguously compare the musical figures with their rhetorical counterpans, and
I. Ibid., 66.
Kirch",r explicitlY underscores the figures' affecti\'e propenies.
360 palhopoeia pathopoe;a 361

Analogous to the rhetorical definitions. TImringus understands the fi gure ,mose of a tex t- and affection-expressive "'ltsica poetica. Thus both
p lu r . . ..
as a general representation of the affections. moving both musicians and " ivid (l1) potypos is) and affective (parhopoeia) text expression 15 assuru-
audience alike. With Ihis generalization of the figure. the speci fi c re fer_ lated into the general concept and definition o f nws ica poelica.
ence to chromat ic ism is omitted . It is this genera l understanding orthe
figure which is at the root of Kircher' s prosopopoeia. In li sting but not Susenbrotus (pl/0171~ p.66)
Denique tota :t<iOonoEi' affectuum And finally the entire force and variety of
defining the variousflgurae minus principales in his Liber 5, Kircher the affections can be expressed through
11100io ac varietas. QuI quidem affectus a
adopts Thuringus's list o f figures, exchanging onJy pafhopoeia with circumstantiis. ~b ha bitu, aetate, fortuna. the JXllhopoeia. These affectiOlls arc usu
prosopopoeia. a rhetorical fi gure through which inanimate objects or locO. tempore, causa, modo, materia, ct ally elicited because of the circum
personi s peti solen!. stan ces, conditions, era. fate , location,
absent persons are g iven life and action. Henry Peacham the Younger time, cause, manner, matter, and persons.
similarly uses the tenn prosopopoeia in reference to music' s "passionate
airs" instead of adopting his father's pathopoeia.1 The "inanimate object"" Peacham (Gun/ell of Eloqll~nce p. 143)
of the prosopopoeia becomes the affection which is given life and action Pathopeia. is a fomle of speech by which
the Orator moveth the minds of his hear
through the music. Vogt also mentions the prosopopoeia without specifi - ers to some vehemency of affection, as of
cally defining it. He refers to this figure along with the hyporh)posis, indignation. feare. envy, hatred. hope,
similarly lacking a definition in his Cone/ave, in his general admonitions gladnesse. mirth. laughter, sadnesse or
so rrow.
to the composer to vividly express the idea of the text through the
figurae ideales. 2 Vogt seems to suggest that the hyporyposeos fi gures arc Prosopopoeia. the (aining of a person.
used to vividly portray the text while the prosopopoeia signifies the that is. when to a thing sencelessc and
dumbe we faine a fit penon, or attri bute
arousal of the affections, thereby replacing the pafhopoeia. Instead of a perso!l to a COnUlIOllwelth or multitude.
iso lating a specific figure to signify affection portrayal in his li st of . . . Sometime to Cities. townes, beastes.
defmed figure s, Kircher includes such references in virtually all of his birdes, trees. slones. weapons, fire, water,
lights of the fir11lament, and such like
definitions. On the other hand, he assigns the ro le of vivid text expres- things he anrib uteth speech. reason. and
sion to the assimilariolhomoiosis. l aITection. and to no other end then to fur
Neither pathopoeia nor prosopopoeia are mentioned in subsequent th er his purpose an d 10 confimle and
make his cause evident.
FiguI"enlehrell. As the general concept oCthe musical-rhetorical figures
increasingly focuses on expressing and arousing the affections, the i3 unneister (H.lpomnema/llm )
specific figure s which signi fy this intent become redundant.lnstead, the Pathopoeia fit quandO leXIUS semitoniis The palhopoeia occurs when the text is
ita cxplicatur. 111 qllod affectus creel nihil expressed through semilones in such
discipline of musica poe/ica and specifically its Figllrenleltre is in itsel f fashion th at no one appean to remain
ej us intentat um relinqui videalUT.
a pathopoeia. A simil ar fate faces the hypotyposis. Although Bunneister unmo"ed by the created affection.
also includes this fi gure in hi s Figllrelllehre, most subsequent writers
omit it, presumably because its function also coincides with the general Hu nlleister (.-I. fmica Poe/iea p.61)
i'<tthopoeia TUt6<l1l01(a est figur.t apta ad The palhopoeia is an apl figure to creale
affectus creandos. quod fit, quando Semi- affect ions. It occurs when semitones are
Io nia c;mnini inserunt uT. quae nec ad insen cd into a composition which neither
Modum carmi nis. nCi: ad Genus per belong to its nux/us or genus but are in-
1. 'Nay. hath not music her fi gures, the same which rhetoric? What ... [are] her tinent. sed uni U5 beneficio in aliud troduced into a composition's modus
passionate airs. but prosopopoeias?" nle Compleat Gellllem(lI1: d ted in Slnmk, SOlirCt in troducuntur: Tu m qualldo semitonia from another. II occurs when semitones
Readings. 337. canninis Modo congruen tia saepius extra are frequentl y added to the modus of a
2. See H),pot),posis. nlorern aningunlur composition in IIIl extraord inary fashion.
3. See Assimilalio.
 362 palaQ parl:JQ 363

close association w1th text expression provides the basis for the various
figure s of silence to be included in the concept of musical-rhetorical
Mo figure s. e\"en though they would not all possess rhetorical counterparts.
BtUlllcister only includes the general pause tmder the term aposiope-
Thuringus (Opuscu/um p.126) sis in his Figurel1lehre. Thuringus includes not only the aposiopesis and
Quid est Parthopoeia? Est. quae dictiones What is the parrhDpfia'! h occurs when the related homoioptolol1 and homoiotelelltoll, bUI also includes rests in
affectuWll, do~riJ, gaudii, timOn!, risus, the passage is enhanced with affections of gene railUlder the term pausa. His definitions of this figure are modeled
luctus, misericordiae, exultationis. tre- sorrow, joy, fear, laughter, mourning.
moris, tenons, & similies ita omat, UI on Dressler's discussion of the device,' With the inclusion of the pallsa
mercy, exuilation. fright, terror, and simi-
tam cantores quam auditores moveal. lar affections in such a manner that il in his Figlfrenlehre , Thuringus establishes a rhetorical understanding of
moves both singers and listeners. all musical figures of silence .
Kircher begins his list of defined figure s with the pausa, emphasiz-
ing its property as a textinterpreti ve device. It is of particular usefulness
PAUSA: a pause or rest in a musical composition. in expressing questions in music. Kircher adopts a great deal ofThurin
gus's Figllrenlehre,listing all bUI one ofTIlUringus's figures in Liber 5
Musical figure s of silence can be divided into two categories: those of his Mus llrgia. In his defined figures. Kircher redefines homaioptoton
signifying a breaking off or rupture of the musical line (abruptio, ellipSis, with a definition much closer to the fi gure's rhetorical counterpart.
tmesis) and those signifying the ensuing silence (aposiopesis, homoio. While Thuringus ascribes the property of expressing a question to his
ptoton, homo;ote/ellton, suspiratio). The pausa is either considered homotoplolon, Kircher now assigns this task 10 his pausa. TIlls attribute
among the laner group or understood simply as a notational sign. As a is not explicitly included by Thuringus in hi s description of the pausa
musical expression, pauses can serve three distinct purposes: first, they but rather is found in his homo;optotol1 defmition.! As part of his pausa
are essential for technical reasons, facilitating a clearly articulated and definiti on. Kircher al so lists the stellaSlI1l1S or slIspirat;o, a "musical
differentiated musical structure; second, they serve to clarity the general sigh:'
structure of the text; and third, they can be used to express specific The pausa is also mentioned by Printz and Walther. Neither mention
words, thoughts, and images found in the text. the figure ' s rhetorical or affective use. Printz is primarily concerned with
The structuring of Renai ssance motets according to the caesurae figurative embellishments rather than with text or afTectionexpressive
fOWld in the text is a weJlknown phenomenon. Numerous sixteenth- devices. Both his slIsp;rans and pal/sa are described as pure ly technical
century authors emphasize the artistic merit of the pause in a musical devices rather than as expressive figure s of silence. Walther simi larly
representation of the text. Ruhnke cites references by Gallicus (1520), regards the jigllra "llita or pausa simply as a sign in music notation.
Listenius ( 1537), Rhau ( 1538), Dressler (1563), and Calvisius ( 1592 ), Afterdefiningpallsa in his Lexicon, Walther defines fLUther rests accord
regarding the observance of pauses in music and text. I Dressler explicitly ing to thei r durational value. Even hi s pal/sa generalis is described
emphasizes the "elegant" and "agreeable" attributes of pauses, particu- simply as a rest in all voices without any reference to the musicalrhetor
larly when all voices faU silent to emphasize and clarify the text. 2 This ical figures of simi lar description . These he lists under their respective
tenns. abruptio and aposiopes;s.

I . Ruhnke, B/lrmeister, l35ff.

2. "Quinto elegantiae et suavitatis causa inseruntur pausae et non raro omnes voces
p.ropt~ empbasin e( vocabulorum signification em." Praecepta musicae poeticae, ch.lO: 1. Feldmanll. "Das 'Opusculum BipAr1itum ... 135.
Cited In Ruhnke, Burmeisler, 137. 2. See HomoioplOion. HomO/Ole/e ulon. Aposiopesis .
364 p a l/sa p feQn/u m l/S 365

Thuring u5 (Opr/scld ,,,,, p. l\4) 0rt un e. d um qui s vel intmogat, vel suitabl y applied wh ile someone asks a
Quid est Pa usa? Est sign um lacitumitali s. Wh at is a pOllsa? It is a sign of silence 'P P
ad interrogata respon del, ut fiIt "m DiI "
a oglS quest ion o r responds to a question. as in
sec und um nOlae qUMt ila tl:1II cui appro- w hose d uration is determined according hanll on icis. musical dialogues.
pialut constitutwlI. Quis est earum Us us? 10 a ee n ain note. When a re they used?
I. Primo prosunl ad re-spiralionelll 1. To allow the singer to breathe. Wa Uher (Le.l ieo,,)
Can~lium . 2. To add variety and charm to th e COm_ ~i2l1r a m uta [Ial ital ) pI. Figure mute Fig ura milia . . . a figure or figures of
2. Ad varietatem &: dulcwinem cantus; position. S in ce no composit ion can be iit;l ) Figurae m Ul ae [laI1 Fi~ure muate. silence. These terms refer 10 pauses.
Cum enim nulla canlio suayis &: aniti- regarded as charming and anful unl ess II 1. figures Ill uelles [gall.) eme SlUmme
d osa existimetur. nisi sit fugi s ornata, is adorned wit h fi,~oe. pa uses are neces_ ~igur. Slumme F iguren. hierdurch wer-
necessario invC\lae sunt pausae, quo sarily introd uced in order fo r j l/gae \0 be den d ie Pa usen ge me)net.
fugae constitui possent. constructed.
3. Ad vitandes concurrcntes perfecta! 3. To avoid parallel perfect consonances. pausa (lat. itBI.J Pause (gall.) 1':0:001<; PO/ISo refers to a rest or silence in the
consonant'arum species. ne duae im~cem so thaI two of the same spe<:ies do nut (gr., riPe Ruhe, SIi11 ha lten in der Musi c, musi c. which is indicated by a cenain
ejusdem speciei immediate se sequi immed iatel ), fo ll ow each other. Th us 50 dUTCh tin gewisses Zeichen angedeutet sign.
cogaJllur, cum 5e offerunt . & vilari placed. the diffi c ulty can be avo ided. wird
difficulter possun!. 4. To avoid proh ibited int ervals such as
4. Ad vitanda prohibita intervalla Trito- the ttitonc or major seventh, These disso-
num semidiapcnle, &: semi diapason. nances are slri etly and appropri ately
quae arte vilad commode. nisi pallsis avoided through intervening p(/1lS(le and PLEONASMUS: (I) a prolongation of passing dissonances through
intervenientibus vel vocibus positis fietis. a realignment of th e voices.
suspensions; (2) four-part harmonized chant;falso bordone.
non possum. 5. To remove othe r diffi cult situations.
5. Tol1endae difficuilatis causa: Cum For example, when two or th ree pans of
coim duae vel Ires canlilenae partes ita the composition are co mbined in SllCh Both the rhetorical and the musical pleonasmus signify a certain excess
cong lulinallle sin!, lit plures addere per- fashion that the add ition of more vo ices (Quintilian: " ... id est abulldans" ; Burmeister: "Pleonasmus est . , .
quam diffi cile sit_ Pause commode poni becomes difficult. appro priatel), placed
possunl quo ad ma d ifficultas finem pOl/sae can be used until those diflicu l- abllndantia" ), thereby reflecting the literal meaning of the term (from
habeat. ties are past. pleonazo, be in abwlCiance, exaggerate). Bunneister introduces the term
into the musical Figurenlehre, defining it as a passing dissonance (sy m-
Ki:her ( AfllSurgla L,8. p.144)
no:oo\<; idem quod quies est_ Pausa tunc Pa/lSis is the same as silence. The P(l//So blema ) which is prolonged through a suspension (syncopa) before
commode adhibetur. cum una persona is appropriatel y used wh en o ne person resolving. Both the symblema and the syncopa introduce dissonances
non mUll; censenlur loqui: fitque tun c instead of many are all owed 10 speak II
into the hannonic sbUcture of a composition. TItis results in the intended
o portune; cum quis. vel intnrogat, \'el ad is suilably applied when someone asks a
interrogata responde!. ut fit in dialogis question or responds 10 a ques tion. as in exaggeration or abundance, namely of dissonances. The combination of
harmonids Viadanae. the musical dialogues or V iad al1u. passing nOle and suspension extends not only a dissonance but can create
yet another delay : should numerous pJeonasmoi be linked together, the
Printz (I'hrynis MYlilenael/s pt. 2. p.68)
Die schweigenden Figuren werden Pau- Figures of silence are called pallsae. A cadenc_e mi ght be extended over two , three. or more measures.
se genennet. Es ist aber eine Pausa, w ie pat/sa . in the sense of its usc here. is a Janovka and Vogt listpleonasmus as an alternative term for/also
dieses Won allhin gebraucht wird I ein veT)' shon silence. or rather on ly a moder- bordone. the Italian translation of/aux bourdon. Falso bordone signifies
5thf kunzes Stillsc hweigen I oder viel_ ation of the voice whi ch becomes softer
mehr nur eine MAPigung der Stimme I and gentler between notes of rll pid suc-
nOI only the familiar faux bourdon progression, but is expanded to
die immer stiller IUld gelinder w ird I zwi- cession. include four-part chordal hannonizations of psalm tones with the root
schen geschwinden Noten. of the chord in the bass. 1 The "falseness" or irregularity of the three-part
! al L\' bourdoll progression is considered eliminated through the addition
Janovka (C/al'is p.SI )
Pausa, idem est quod quies, & tunc com- The pal/so is the same as silence, It is
mode adhibetur dum una persona non appropriately used while OIlCl person rath-
vero mulle censentur loqui. fit que tunc er thall many are allowed to speak. 11 is 1. See Fallx Bourdon .
366 pfeomunllls 367

of the bass voice. thereby encouraging the introduction of an alternative

terminology. Ln perfomlance of harmonized chant. each voice sings
nwnerous syllables or words to a single note. This "overabundance" of
words per syllable is compared to the excess of mod if)ring words wlJch
characterizes the rhetorical pleonasmus. A further Greek, albeit non_
rhetorical lenn, isobatlls (literally, same path or progression), is used by
Kircher to identify harmonized chant. (31lm1eisler {11(lls ictl PQI!lica p.61)
Pleona5l1lUS -:t).o \'aaJ..lo~ est Harmoniae, The pleollosnwS is a compositional ex-
in fOffll3tioue Clau5ulae praesertim in cess in the formation of a cadence, most
Quintilian (/nSlitulio VIIUii.S3) frequently in its middle. and is forged out
ej us Medio ab undantia. quae ex Sym-
Est nA o\,aollot; vi tium, cum super- Pleonasmus is an error wh ich occurs blema(e & Syncopa conflalUr. sub dup- of a $l"lI1b/enr(l and syl1Copn over two,
vacuis verbi s oralio oneratur. when the oration is overburdened with three. or more toetus.
lici. IIiplicl. & ultra. (actus, &c.
superfluous words.

Quintilian (/nsl illlfio IX.iii.46)

Hoc Caecilio Jt).EoVaOI'~ viderur, id est Caecilius understands pleonasmus as an
0 .J I 0 II
u
ablUldans super necessitatem oralio, sicu! oration characterized by a wealth of
.0 .
ilia "Vidi oculos ante ipse meos." words beyond necessity, such as "] have
seen it with my own eyes." ~.
Susenbrotus ( f.p ;fQme p.31) Janovka ('Jal'/J p.4l)
Pleonasmus. est cum supervacuis bis ora- The pleOl1osmus occurs when the struc- Falso bordo ne. alias Pleonasmus. aut ut Falso bort/Olle. also kn own as pleo-
tioni! contextus vd affirmationis vet Epi- ture of the oration is frequently overbur- Pater Ki rcherus habet !sobatus, dici tur. lIasnm.f. or isobtl /IIS as Kircher calls it,
taseos gratia oneratur. dened with superfluous words for the dwn in aliquo cantu nwhae syllabae. vel occurs when numerous syllables Of words
sake of asser1ion or emphasis. vocabul a sub IIna nota canuntur. quod a~ sung to one note in a canllU. as in
l'OI1tingit in qui busdam de 00. SS. Lita- cel1ain litanies.
Gottsched (Redekmlsr p.279) nils.
Pleonasmus. Wcnll man ilberflilssige PleQf1osmllS. When superfluous mod ify-
Beywoner braucht die Sache noch desto ing words are used to render a thought V Og! (Collcli/l~ p.4)
Ilachdrtlcklicher zu gebell. Z.E. Die heipe with yet greater emphasis, as in hot em- Falsobordon e prim o Pleona5mus est, & First ./ill.lobortiolle (or pleOIlO.fnllls. ;so-
Glut, der grosse Riese. der kleine Zwerg. bers, the large giant, or the small dwarf. 150OOt1l5. cllm sub WI. magna nota plures ballls) signifies a passage in whi ch nu-
syllabae. \ el verba, uno. eodemque tono merous syllables or words are sung on
Gottsched (Diehlkrmsr p.325) ~ anuntu r. one pitch to one long note.
Die X. Figur ist der Ueberflup , (Pleo- The next figure is superfluity (ple()-
nasmus) wenn man viel mehr sagt, als nosmlu), which occurs when much more
n6thig ist. Sie enlsteht wiederum aus der is stated than is necessary. It also occurs
Heftigkeit des Alfectes. welcher a1les OUI of the vehemence of the affection
POLYP IUTON: a repetition of a melodic passage al different pitches.
zusammen nimmt. die Leser oder Zu- which employs everything in order 10
hOrer aufs handgreiflichste zu riihren Wld tangibly stir and C(lnvince the readers or
zu ilberzeugell. listeners. The earl iest reference to an association between the rhetorical pol),prolon
and a musical application is found in an English treatise. Puttenham
Bumleisler (Hypomllemafluu)
Pleonasmus ex Symblemate & Syncopa The pleollasmllS is forged out of a sym- descri bes lradllclio with a definition analogous to that of the pO/),pIOlon.1
conflalUr. I'QlissinlUm sub introductione blema [passing dissonance] and syncope
clausulae alicujus. (suspenSion). occurring most frequentl y
in the beginning of. cadence.
I . Sonnino. Handbook. 179.
368 polyplolQtI polysyndeton 369

Henry Peacham in his Garden of Eloquence then compares the Iradllctio Manheson mentions but does not define polyplolon. He includes it
to the repetitions and divisions {alterations) in music.' Although this ill a list of rhetorical figures of repetition which are rooted and familiar
general reference is fmUld in an English rhetorical treatise , far removed equally in music as in rhetoric and therefore require no fwther explana-
from the Gennan Figllrenlehre both in substance and place, it does po:nt tion.
to the growing correlation between the rhetorical figure s and their
musical application. Susellbrotus (EpitQme p.S6)
Hoc Schema poetis Dommatur 1tOAV- This figure is called polypl Qlon by poets
The well-known rhetorical figure is defined only in Vogt's musical and is distinguished through a variety of
lHwtO\' POI)'Ptoton, hac est. multitudo
Figurenlehre. Although the repetition of a musical passage might be casuwn varietate distincta. MancineJlus: different case endings. According to
considered a technique covered by the ol1aphora, Vogt chooses to Oatque Polyptoton varios casus reti Mancinellus. it is marked by the repeti.
nen rlo. tion of a word in various cases.
bestow the device with a specific rhetorical name. 2 He specifics that the
polYPfolon repeats a passage in diverse clavi or pitches.' Thi s would GOllsched (Rtde/wrlSt p .276)
parallel the grammatical repetition of a word in diverse cases. Vogt does Polyptoton. wenn ein Wort in seiner PoIYPIOion occurs when a word is re-
grammatischen Abllnderung wiederholt peated with grammatical aiterations.
not clearly indicate which part of a composition is to be repeated. stating
wird.
only that the polyplolo" repeats a colon or secti on of the composition.
This could be interpreted as a section of either a certain voice or the Vogl (Cmlc/Ql'e p.1 S I)
Polyptoton. Cum colon in diversa clavi PoJyptolOn . When a passage is repeated
larger musical structure. However, Yogt consistently uses the tenns vox al various pitches.
repetitur.
and voces when discussing figures concented with individual voices. As
such Vogt defines the term homophonio in his glossary as a fugal vox Mattheson (Copellmeuttr p.243 )
Die EpanalepsiS, Epistrophe. Anadiplc. The epanaltpsu, eputrophe, anadiplosu,
which enters on the same pitch (clavis) as the previous statement of the paronOtrlasio, polyptQlon, on/anaclasu,
sis. Pa ronomasia, POlyptotOD. Antana-
theme, or the elhopho"ia as an imitation of one vox by another. s It is clasis. Ploce etc. haben solche natOrliche place. etc., uswne such natural positions
therefore tmlikely that Vogt wishes to identify the entry of a specific Steller! in del Melodie, da/l es fast sthei- in music that il almost seems as if the
nel. al s hllnen die griechischen Redner Greek orators borrowed these figures
voice at a different pitch with polyptotoll . On the other hand, Vogt sothane Fig uren am der Ton-Kunst from the art of musical composition. For
nonnaJly employs the common designation of periodllS when referring entlehnet; denn sie sind lauter repeti. they are purely repeliliOtlf!S WJCllm , repe-
to a larger section of a composition. In all likelihood. colon simply refers tiones 'locum. WiederllotWlgen der WOr- titions of words, wh ich are apptied to mu-
ler. die auf verschiedene Weise ange- sic in various different ways.
to a melodic phrase, similar to its grammatica l use. In thi s case. the bracht werden.
polyplolo" would signify the repetition of a melodic passage at different
pitches, not unlike the illli/alio of Walther, Mattheson, or Spiess.
POLYSYNDETON: an immediate repetition of an emphasis (accenflls)
t . 'Traductio is a forme of speec h which repeateth one word often times in one
in the same voice.
sentence, making the oration more pleasant to the eare.... This c:o;omati on is compared
to pleasant repetitions and di vis ions in Musicke:' Garde" of EJoqlltllce. 49. Ahle is the first author to list polysyndelon in the context of a musical
2 . His al/apham is de scri bed as a general fonn of repetition, either of a pan of a
Figul'e"fehre. In keeping with all of his explanations, he retains the
pcri(}(/ltS, or of ajigllrrl simplu. See Allophal'il.
1ln his introductory glollSary. VOgl defines elal'is lls "QUiSclulque ad quel1lcunque rhetorical definition of the lenn. Walther, who adopts only those of
tonus" (p.3). clearly associating elm'is with th e pitches of the modus or IOtlUS rather th an Ahle 's figures which are easily transferred to music, excludes polysyll-
with the placement of the voice in different registers or sta ves. detoll. as),l1delon , andsynony mia from his Lexicon, all rhetorical figure s
4 . " Hom ophonia primo \'oce sola. secundo cum voces in fuga eadem clavi
successl\'e incipitmt:' COtfclove. 4. which are not easily represented through the accompanying music.
S. See M imesis.
 370 fJo/ysyndeton prolQlfgal ro 371

Yogt is the only author to supply polysyndeton with a musical PROLEPSI S: see AN71C IPA110
definition. Because his definition of emphasis is not entirely clear. the
meaning ofpo/ysyndeton. which he describes as a repeated emphasis, PROLONGA TIO: a passing dissonance or suspensionoflonger duralion
is also indefinite. I Should Yogt's emphasis in fact signify a tcxt.exprel:,_ than the preccding consonance.
sive accellllU. hispolysyndetoll would be Wlderstood as a series of nOies
connected through nwnerous accefllus. Such an upper or lower neighbor According to strict rules of counterpoint. a dissonance which is incurred
can either precede or follow a consonant note and can function as a through a passing note or a suspension is not to be of longer duration
"c0rUlU1ctive" Irallsitus or passing note. A series ofaccentlls or emphases than the preced ing consonance. The pr%l/gario provides an exception
would thereby connect the principal notes. Vogt's po/ysyndeton thus to this mle. TIti s purely musical figure is only mentioned in Bernhard ' s
connects (syndeo) both multiple (POly) emphases as well as principal Traclaflls, where it is included among the figure s used in the stylus
notes of a composition. IW:lIrians commun is. It is virtually identical to the exrensio, a figure used
in the sry/us I'Ltllr ians tlrearra/is or Sty/liS recitativlls. The distinction
Quintilian (/1IJ1illitiO IX.Hi .50) between the two devices lies not so much in the nature of their disso-
Contrariurn illud est schema. quod Opposite to that one is 3 figure wh ich
nances as in the place of their usc. In addition to permitting greater
coniunctionibus abundat. lIlud aouv signifies an excess of conjunctions. TIl e
6nov, hoc l"IOAoouv6Etov dicitur. former is called asyndeton, and this one hannonic license. the rhytlunic freedom of the stylus recitativus negates
polysymieloll. a number of the contrapuntal requirements regarding dissonance and
meter or duration, a condition which is underscored in Bernhard's
Susenbrotus (Epitome p.39)
Polysyndeton, nOAoouv6Etov, id est. Po/ylyndelon signifies numerous and definition of the f/"mfsitus inverSlIS. I Thus Bernhard simply mentions the
vane ac multiplieiter coniUIlctum, est varied coojunctions, and occurs when th e exfens;o's property of prolonging a dissonance and its customary combi-
quum oralio multi! coniunctionibus vel oration is overburdened with mWly either nation with the mllitiplicatio, withoul making any reference to the
eisdem vel diversis abundat. Vel est mul- like o r diverse conjun ctions. Or it is an
tis nexa coniunctionibus o ralio. Manei- onllion connected through numerous con- durational relati onship between the dissonance and the preceding conso-
neHus: DiveTS3.S Voces coniunctio plu- junctions. According 10 Mancinellus, it nance. The prolongalio in contrast is used in the stylus luxuriaus com-
rinla si fert. consists of a connection of n umerous di munis . a compositional style wttich combines expressive text interpreta-
verse phrases.
tion with traditional counterpoint. Bernhard links the proiongalio to the
Gonsched (Rede/wlf.J1 p.278) styllls gravis through both his implied reference to traditional rules of
Polysyndeton. Wenn man gar zu viel PoIYl)'mieton. When 100 many conjunc- counterpoint and his explicit reference to the 1'....0 styills gravis figures,
BindewCiner braucht. tions are used.
trans itus and s)'l/copatio. His examples of the pr%ngatio are also
Ahle (Sommer-Gespriiehf! p .17) contrapwlIal. in contrast to the recitati ve examples of the eXlensio. Whi le
Hergegen aber I wll.n er wlches noch In contrast. were the composer to add the pr% ngario links this dissonant device with past compositional
mehrmal hinzutuht. ti n Polysyndeton, Ithe conjunction alfd) numerous time s. a
practice. lhe extel1s io points ahead to modem. expressive composition.
als: jauchzet und singet und rtlhmet und Po1}'lyndelOlf results, as in "rejoice and
lobe!. sing and glorify and praise." Neither prolol1gatio nor extensio are included among the list of figures
in Bernhard's later Berie},t, but are subsumed under the definition of the
Vogt (Conc/ave p.1 5 I )
Polysyntheton . In simi libu5 partibus peri.
mll/tiplicmio, specifically ilS second, eXlended or prolonged (Verlan-
The polYlymheton occurs when an em -
odi continual3 emphasis. phusis is repealed s uccessively in the gerfe) form.:
same parts of a passage.

1. See Trun.wlH.
I . See EmphU.Jis. 2. See Mli/rip/iealia.
372 reperclissio repercussio 373

Bernhard (Trae/a/us p.76) tion suggests. this modification can entail the introduction of the related
Prolongatio ist ..... enn t ine Dissonantz sich The proI01lgtll;o occurs when a dis-
lInger aufhlilt. al s die vorhergehende
plagai mode. a procedure which Bernhard identifies asconsocialio modi,
sonance is of longer duration than the
Consonantz, in Transitu rowanl als in preceding consonance. in the context of s form o[mlilario to"i. 1While Walther relates repercussio to the specific
S)ncopalione. In Transitu sind folgende either a ImnsillU (passing dissonance] or modified interval, Mattheson consistently identifies the entire modified
(Xempel] nur sehen. a splcQl'alio. Following examples are answer with the tenn throughout his Capellmeisler. In fact, even an
fOlmd in IruIIsilrlS. occuring onl y rarely.
inverted statement of the subject can be called a reperclIssio. Mattheson

~ ~.
;t' does not wish to limit these modified answers to fugal composition but
suggests that they are especially useful in developing and amplitying the
princi pal subjects (Hallpt-Satze) in "other pieces."
.
~ ~ ~ ~ Mattheson also mentions that the reperclISsio is equivalent to the
rhetorical figure refraclio or reverberalio. This becomes particularly
In Syncopatione iSI sie brillchlicher doch The p,-oIollROlio is more common in a graphic in an im ersion of the theme which "undenakes a comrary move-
vomehmlich bey der Quarta. S)'ncopafio, particularly at the fourth. ment. "l The rhetori cal refractio signifies the repetition of a word yet
with contrary meaning. ) Similarly the tonal answer repeats the subject

~
with certain contrasting changes. Not only are intervals modified or even

. Ii e
inverted, but the contrapuntal role of a fugal answer stands in contrast
to that of the opening subject, one being the leader (dla), the other the

~
follower (comes); one leading away from thefinalis or tonic, the other
~ leading back to it. Thus the repetition and simultaneous contrast identi-
fied by the rhetorical refractio also appears in the musical reperclIssio.

Walther ((>., i)l1)

PROSOPOPOEiA : see PATHOPOEIA., H)'pon'posrs. MIMESIS Repercllssio signifies the particular inter-
Repercussio also heisset dasjenige inter-
valium. welches in einer Fuge der Dux val whi ch the dllx lIIId comes of a fuga
QUAESITIO NOTAE: see SUBSUMTlO und Comes dem Modo gem!l.p. gegen foml in opposition to each other. accord-
einallder for miren. ing to the mod~.

QUASI TRANSITUS : see TRANSrruS

REPERCUSSIO : (I) a modified interval in a tonal fugal answer; (2) a

II
tonal, inverted, or other modified fugal answer.
In d i~enl E!O:empcl. welches Modi Dorii In this example in the Dorillll mode. th e
The reperclISs;o is associated with a fugal answer, signifying either the ist, springel der Du!O: aus dem FinalClave dux leaps from the jinalis to the fifth: in
in die Quint ; hingegen de! Comes aus contrast, the comes leaps only a fourth .
interval altered to achieve a tonal answer or other variant of the subject
(Walther) or the fuga l answer itself (Mattheson) .1 As Walther's definj-
1. TIle aequoJio modi. lIIIother fonn of nIlIJUlio Joni. is used to accommodate II teal
or exact fugal answer. See Mil/olio Toni.
2. Earlier. l3unneister had identified the inversion of a fuga l subject as hypallage.
I . Spiess also employs the term ,-eper-clusio. but uses it 10 signify the See H)palloge.
'repercus.sion ' of a Irill ing nOle in a dbolfllta . See Riboll/l((l. 3. Sonnino.llllndboolr.. IS8 .
374 relardalio 375

demo unleT den Final-Clavem, venntlge proceeding out of the A below thefinalir. REPETIT10: see ANAPHORA
des AmbilUs Modi Hypodorii (welches This is determined by the range which
der Comes eben observiren mu~) gehell- the comes must observe, namely th e
den a nUT in die Quart. Weil nun diese ambitus of the Hypodorian mode. Should RET ARDA no: (1) a suspension which is prolonged or which resolves
zwey intervalla. wenn noch mehr Stim- more voices be added, these two interva!s by rising: (2) <l delayed rather than anticipatory suspension.
men danu kommen, ailemiren, so wird alternate, a process called repercussio or
tin solcher processus Repercussio, oder Wiederschlag (repcn:ussion).
del Widerschlag genennet. The retardario is defined similarly in Bernhard's Eericht and Walther's
Praecepla. In both treatises, which feature identical musical examples,
Mattheson (Capellmeisttr p,124f.)
Der drille Weg, darnuf uns diese
it is understood as a suspension which initially resolves by rising. In his
The third method suggested by this nota.
Notations-Quelle der Erfindung fiihret. tional source [locus nOiotionisl of inven. 7i'aclatlls Bernhard calls the same device a mora. Although both figures
begreiffi die Wiederholungen, mit ihrem lio encompasses the repetitions, kn own share one musical example, there is a slight difference in the two defmi-
Kunst-Worte clausulae synonymae ge- by the art word clausufae synonymae, or
nanm, odeT was man sonsl in fuginen
tions. The rctardatio is the result of a prolongation of a note which
what is othelWise called Wiederschluj{
Sacben den Wiederschlag nennet, d.i. (repercussion) in fugal pieces, that is would normally rise a step, causing the suspension. In contrast, the mora
wenn ich eillen gewissen Satz in andre when a certain passage is transferred to signifies a rising resolution of a suspension when a falling one is ex-
HlShe oder Tiefe versetze. Durch dieses higher or lower placements. With this aid
pected.1 While the mora can he characterized as an irregularly resolved
Hiilffs-Mittel werden sehr viele hUbsche many attractive themes or principal sub-
Themata oder Haupt-SlItze, nich! nur zu jects, not only in fugues but especially in suspension , the retardatio is a de layed upward resolution; the mora is
Fugen, sondem vornehmlich zu andern other pieces, are very cleverly developed an "inverted suspension," the retardatio is "devised in imitation of the
sachen erfunden, und sehr geschickt or amplified, particularly when a passage . "
suspenSiOn.
dUTch- odeT ausgefiihret: zumahl wenn is interrupted by a number of intervening
die eine Modulation dUTCh etliche ones, after whi ch it is again returned in In his Lexicon Walther defines retardalio simply as a delayed or
zwischenkommende abgel6set, und her such a clever manner that it seems as extended resolution, referring to the example under resolutio mediala. 2
nach wiederum so geschickt angebracht though it were summoned. The Wieder Both Scheibe and Spiess include the retardatio in their treatises with a
wird, daj3 es liiPt, sis ob sie gerufen schlag is called repercussio when one
klime. Der Wiederschlag heisset reper voice answers another by repeating not similar understanding.] Neither Scheibe nor Spiess include syncopatio
cussio, wenn eine Stimme der andem onty the same notes but also similarly in their Figllrenlehren. lnstead they use the two figures anticipatio and
nicht in blosser Wiederholung deuelben structured higher or lower ones. This can (its antithesis) retardario to identify two fonns of suspension. The fomler
KllInge, sondem in verschiedenen, ent even occur in the same voicc.
weder h6hem oder tiefem, mit einer anticipates a note belonging to a subsequent hannony, allowing it to
Gleiehfl:lnnigkeit antwonet, und kan sol sound prematurely in the preceding hannony, whi le the latter delays a
ehes aueh in einer eintzigen Stimme note, allowing it to sound belatedly in the subsequent hannony. Neither
gesehehen.
of these definitions di fferentiate between a rising or falling resolution
(Capellmeisrer p.239) of the dissonance, thereby pennitting either fonn.
Ferner folget ein frischer Wiedersehlag, Next follows a fresh Wiederschlag or a
oder eine repereussio in der Quinte des repercllssio in the fifth of the main key, Bernhard (H"richr p . ISI)
HauptTons, welche Figur in der Rede known as a rhetorical figure among the Retardatio ist eine Versliumung, wenn The I"elardalio is a hesitation, namely.
Kunst, und zwar in den Figuris dietionis figurae dic/ionis as re/raclio or rever
mit dem Nahmen refraetio seu rever beralio. However, the voice does not fol-
beratio beleget wird: doch so, dap die low this time but rather undertakes a con
Singstimme diesesmabl nicht naehfolget, trary movement. 1. See Alom.
sondem vielmehr eine Gegen.Bewegung 2. His second example. taken from Stierlein. coincides with th e examples found in
vomimmt.
his I'mecepra and Bernhard's Berichl.
3. Scheibe includes relordalio in his early compositional treatise, Compendium
lIIu.5i(""s . but does nOllist the device in his Crilischer Allisiclis. where he deats only with
expressive mllsil:alrhetorical figures adopted from Gottsched's rhetorical treatises.
376 retardariQ ,-etardatio 377

nehmlich cine Note dlle Secunda Steigen when a note ..... hi ch should risc a second retard .
solte und sich ZlI lange var dent Slcigen tarries 100 long before rising. This figure
aufthlilt. Sic is! abeT erfunden zur Imita- was devised in imitation of the syncQ-
tion der Syncopation mit diesem Un let polio, with this difference: while the
scheidt. dap. wo sich die Syncopation s)'/fcopalio resolves by descending. Ih ~ 000 mi-oe Je Chris- te o
henmterwerts IOl}et. so thut wlches die relardatiu resolves by ascending.
Retll.rdalio auffu-erts.

Scheibe (Com/Hndium)
Relardalio ist der Anticipatio enlgegen The r~lord(Jtio is opposite to the anliei-
gesezt. und geschiehet ebenfalls auf pOlio and also QC(:Uf$ in tv.o forms, con-
zweyerley weise I) in AnSdltUlg der Res. cerni ng, namely. the resolution of the
olution der Dissonant 2) in Ansehung di5SQflMCe and the embellishment of Ihe
und Auszienmg der Melodie. (I) Wenn melody. Regarding dissonance, it occurs
ich dieselbe so lange ven6gere, bil1 erst- when the dissonance is delayed so long
Walther (Praecepto p.155) lich eine neue Dissonant daraus enlste- thai a new dissonance resullll which in no
Retardatio is! cine Vcull.unmung oder The relardatio is a hesitation or delay. het, welche in keinen membro auch niehl way has anything in common with the
Auihaitlmg, wenn neml. cinc Note, so urn namely. when II note which should ri se a durch die Verwechselung der Hannnonie preceding dissonance, even if the hanno-
tine Secunde steigen solie. sich zu lange second tarries too long before rising. This mil der vorhergehenden Oemeinschaffi nics were to be exchanged. Regarding
vor dem sleigen aunllilt. Diese Figur iSI figure was devised in imitation of th e hat. (2) Wenn ich in einem Thon der embellishment, it occurs when a note
ad imitationern syncopationis mit diesem syncopalio with this difference: while th e eigentiich zwn mten Accord geMn. bey which belongs to the preceding chord
Unterscheid etfundm worden, dap, wo syncopa/io resolves by descending. the dem folgendem Accord noch hallen la,k still sounds with the following chord.
die Syncopation 5ich herunter IAPet. so re/ardalio resolves by ascending. und also denjenigen, der ordentlicher thereby detaining and delaying the
thut solehes die Retardation hinaufwarts. Weise dazu geflOre!, zw{lckhalle, WId die sOWlding of the note which properly be-
Anschlagung depelben verz6gere. longs to the following chord.
Walther (wicon)
Resolutio mediata welche-vennillelst The resolillio mediala delays a resolution Spiess (Troctalus p.15S)
anderer darzwischen Siehenden Noten through other intervening notes for 3 Retardatio, Auffenthalt, VerzlIgerung, ist The r~/arda/io. II tarrying, delay, is di
zwar eine Zeitlang aufgehalten. dennoch time. but nonetheless finally resolv es in der Anticipation schnurgerad zuwider in rectly opposile to the onlicipo/iQ in that
abeT und endlich auf gebUhrende Art the proper fashion. deme. dap, wie jene zu frllhe- diese zu it introduces the correct interval too late
noch angebracht wird. spilth in ihr gebUhrendes lntervallwn em- rather than too early. The retardalio is
nHlet. Es ist die Retardation ni chts an- really nothing else than a dissonan ce re-
deres eigentlich, als eine aus allzulanger sulting from an excessively delayed pre-
Aufhaltung der vorhergehenden Notae ceding note which neither belongs to the
enlstandene Dissonanz, welche zum following chord nor is resolved. The ex-
folgendcn Accord nichl gehOret, WId ample clarifies this.
nicht resolvin werden mag. Das Exempd
gibt die Saeh klar.

Walther (Lexicon)
Retardalio ein Auffenthalt. s. das Exem- Retardalio, a tarrying. See th e exanlple
pel unter Resolutio mediata. Ein anders under resolulio media/a. Stieriein pro-
aber gieht Stierlein in seinem Trifolio vides a different example in his Trifolio
Musicali, p.20. also aussehend. Musicali. as follows :
378 ribattula alli comp()Sli 379

REnCENTlA : see APOSIOPESIS Tenuta Ribatluta .

RmA TI1JTA: an accelerating trill in dotted rhythm, used to embell ish ~~
a tenuta or a note of extended duration.
Spiess (li"ac:lalIlS p .156)
The ribattuta, an embellishment commonly used to ornament a note of Tenuta. Alishalllmg. ist. wann eine A lelWIO or sustaining occurs when a
long duration called a tenuta, is counted among the Manieren (Mal. Stimlll lang in einem Ton aushalten mup: voice must sustain a nOle for a long time.
[anget gcmeiniglich an mit einer Ribat- It commonly begins with a riballula, a
theson) or jigurae simplices (Spiess). Like other figurative embelli sh- [llta. Repercussion. oder wieder Zuruck- I"eprl"clissio or repercussion, and ends
ments, Italian rather than Latin or Greek tenninology is used to identify schlaglUlg. \Uld endiget sich gar wohl mit very well with a lrill.
this device, clarifying the distinction between the musical-rhetorical einem Trillo.
figures and the purely ornamental "simple figures."

Mattheson (Capf!lImf!islf!T pp.115, 118)

Die Welschen hergegen schlagen ihre The Italians, in contrast {to the French],
SALTI COMPOSll: a four-note figurati on consisting of three conso-
gemeine Triller sehr geschwind, starck execute their ordinary lrills very quickl y, nant leaps,
und kurtz, fast wie Trilletten; ausser dem strong, and shon, almost like (riflelli, ex.
Fall, wenn etwa auf einem oder andem cept in cases where one or another note is
Ton lange auszuhalten ist, welches sie to be sustained for a long time. This they
The salri compos/i, like all of Printz's figures, is an ornamental device
eine Tenuta, und die Frantzosen tenue call a lenula , or /tnut in French .. .. At used in figurative music. The leaping intervals used in the construction
nennen .... Bisweilen werden auf sol- times fase and slow trills are included and of this embellishment consist ofthe five consonant saJri semplice: thirds,
chen Tenuten auch wolllllgsame Triller alternated on these IrnUle.
mit geschwinden Wltennengec und abge-
rourths. fifths_ sixths, and octaves. Printz calculates that three leaps using
wechselt. the the intervals allows for 125 fonnati ons (5) "" 125). This muhiplied
by the eight configurations results in one thousand variations, excluding
Die Ribattuta ist endlich noeh wol werth, The nbaflulQ finally deserves mention
dap man ihrer mit wenigem gedencke: sie ing. It consists Oflwo neighboring notes
transpos itions.
bestehet in einer punctinen und bedllcht- in dotted rhythm which are deliberatel y
lich-abgeslossenen Umwechselung zw- executed in alternation as if one were Printz (Phl~ '''is Myli/enlleus pt.2. p.50)
ner neben einander Jiegenden KllInge, returning to the lower, longer note as a Salti Composti bestehen in vier ge- The H illi composli consist of fou r rapid
dabe)' man immer auf den untersten, und point of rest and foothold. The word schwinden Noten und dreyen Spriingen. notes and three leaps. The \'an"atio of
liingsten, ats einen Ruhe-Punct, wieder- means reperCUSSion and needs no further Die Vari:llio der Salti Composti geschicht these salli composli are formed through
kehret Wld Fup fasset. Das Won bedeutet explicalion. However, it is found neither durch di e unterschiedliche BC\\egWlg I the different movement and size of the
eine Zurilckschlagung, und braucht kei- in music dictionaries nor in other com- und u/lt('rschiedliche tntervalla. Die intervals. TIle movement is eightfold:
ner weitern Auslegung; findet sich abeT mon instruction manuals for singers.... Bewegung ist achterley: Denn I . gehet ( I) the first leap ascends, the second de-
wcder in musicalischen WOnerbuchem. The above mentioned lenU/Q is often be- der elSIe Sprung hinauff I der andere hin- scends, the third ascends again; (2) the
noch in andem gewOhnlichen Unter- gun with a ribotlltla. which after a grad- untcr und der dritte wieder hinauff: 2. first leap descends, the second ascends,
ri chtungs-Schriffien rur Slinger.... Die ual acceleration finally ends in a proper gehct UN erste Sprung heruntet I der an- the third descends again; (3) the first leap
Tenuta. deren wir oben erweiUlet, wird long trill, as in Ihe following example: der e hin3uff l und der drille wieder her ascends. the last two descend; (4) the
ga r fUglich mil einer Ribattuta ange- unter: 3. ge het der erste Sprung hinauff I first leap descends, the last two ascend;
fangen. welche, Ilachdem sie allmllhlig die let<:ten beyde herunter: 4. gehet der (5) the first two ascend. the last descends;
etwas geschwinder schiliget, sich endlich erste Spnulg herunter I die letzten beyde (6) the first two descend, the last ascends;
in ein fcinnliches lange! Trillo endigec, hinauff: ~ . gehen die ersten beyde hinauff (1) all three leaps ascend; and ( 8) all
etwa auf folgende Art: ! der let<:te herunter: 6 . gehen die ersten three leaps descend. . . . Therefore
beyde heru nter , der letzte hinauff: 7. tthrough the different intervalsl each
 380 sallO semplice sallUs duriUSCU/l/j 381

gellen aile drey Sprtlnge hinauff I und 8. movement has one hundred twcmy.five SALTUS D URIUSCULUS: a dissonant leap.
gthen aile drey Sprtlnge herunler.... varia/iones, which altogether make one
Abo hat man injeder Bewcgung hunden thousand, without counting those derived
und fUnffund zwanzig Variationes. wei- o ut ortransposition into different pitches The specific identification of a dissonant leap as a distinct figure is
chI' zusammen lausend machen I ohne encountered only in Bernhard' s Figllrenlehre. The harshness of the leaps
diejenigen I so ex TranspositionI' in alias
C laves et\lStehen. is conveyed through the word durus, meaning not only "hard, harsh" but
also 'rough. brazen," This negative connotation is particularly well
Walther ( Lc:cicon) suited to express a text, as Bernhard' s example iIIustrates. 1 The word
Saili composli bestehen aus vier go- Salti compost; consist of four rapid nOies
schwinden Noten, und dreyen Springen. and three Icaps.
jalsch(false) is expressed through a falling diminished seventh. Not only
is the text effectively expressed through the dissonance, but an added
significance of "harshness, shamelessness" is implied through the literal
mearting of a duriusculus leap. Like the passus duriusculus, this figure
SAL TO SEMPLICE: a consonant leap.
can also assume an added explicative dimension,lending it the potential
to signi fy more than even the lext might imply.2 Although the sallus
The "simple leap" signifies one of the five consonant leaps: third s,
duriusculus is defmed only in his Tractatus, Bernhard discusses forbid-
fourths , fifths, sixths, and octaves. In keeping with his concept of figures,
den leaps (verbohtene Spriinge) in the ninth chapter of his Bericht, where
Printz employs the leaps in a purely technical manner, especi all y in the
he suggests that they might be used in the stylus recitaliv/JS, "where they
formation oflarger, composite configurations. Even his reference to the
might be admitted to accommodate certain affections. ,,1
application of the leaps in vocal music in order to extend a syllable is not
correlated with text emphasis or expression.
Bern hard (Trocrolus p .78)
Droben Cap.2 No.6 ist gesaget w o rden, Above in ch.2 no.6 , it was said that un
Printz (Phrynis Mylilenoeus pt.2. p.50) daP man sich rur unnatUrlichen GAngen nalural progressions and leaps are to be
SaIto Semplice iSI ci ner Sylbe Dchnung The sollO sempficr i5 an extcnsion of a Wid Spriingcn hOten solie. In stylo luxu- avoided. In the stylus luxurians cam-
dUTch cin sprUngcndes Intcrvallum. in syllable through a leaping inlerval in vo- riante cmnmuni aller werden etlichc der- m unis, however. a number of thesc are
Sachen I so eincn Text habcn: Auflnstru- cal mus ic. In instrumental mu sic it con- sclbcn zugclapen. Der Saltus hexachordi permitted. The leap of a minor sixlh was
mental Sachen aller bestchet er in zweycn sists of two eigh th or other rapi d notes minoris ist bey dcnerl A1ten nicht brluch- not used by previous composers cxccpt
Fusen / oder auch gcschwinden Noten / not covcred by other figures. It is either lid! gewesen. als nur zwischen rc. fa und either betwcen re and fa or mi and fa.
SO keiner andcm Figur zugcthan seyn. Er inrene/ens or remittens, the fonncr as mi. fa; Heutc abcr sind folgcnde auch However, nowadays thc following are
i5t entweder Intendens, oder RcmittClls. cending, thc larter descending. TIle vari- zugelapen: also permitted:
j ener springet Ubcr sich / dieser unter o us leaps are detennined by the key in
sich. Diese Sprilngc scyn tutlmchiedlich which they occur.... It is said accord
I nachdem dic Scala ist / in dcr sie ingly that evcry leap occurs eithe r [ 0 the
geschehen .... Sagen demnach / dap cin third. founh. fifth . six th. or ocalVe. II
j eder Sprung geschicht entweder in Ter-
tiam oder in Quanam odcr in Quintam.
odcr in Sextam. oder in Octavam.

Walther (Lexicon)
I. The second musical example of his definition is one of thc few cxamples in
Saito scmplicc ist einer Sylbcn-Dchnung The sallo sefl/plice is lUI cxtension of a
Bcmhard' s treatises which includes I text. Othcr musical cxamples with text are found
dUTCh tin s pringendes Intervallum. syllabic through a leaping interval.
in his dcfmitions in the Trocloius of passus duriuscu/us, lrQn.silUS im'l!/'fus, heteroJepsis,
and in his dcfinition in the Berichl of s ubsumlio.
2. Sec Pass us Duriusclilus .
3. '"Eine andcre Beschaffenheit hllne es in Stylo Recitativo, wo sic vicllcicht
etlichcr affecten zu gcfallen zugeJapen wcrden." Bericht, 144.
382 5chemaloides schem Q/oides 383

Saltus Quartae deficiclllis 1m hinauffWld The ascending Of descending leap of I indicating that the form remained whole or intact. The altered or m;""s
henmtergehen. Saltus Quinlae deficientis diminished fourth as well as the descmd. ':)f!rjecfIIs fonn of the schematoides can be either more (magis) or less
hen.ul1erwlirts werden heule all ch pas- inS leap of a diminished fifth are alsc
si ret. Saltus Septimae irregul aris so vom permiued loday. The leap of a diminish e(l (mill/IS) congruous to the original figurati on, dependin~ on how closely
Hc)(achordo minore und Semitollio ma- seventh. consisting of a minor sixth piu! the relative proportions of the notes' durations are retamed. Vogt refers
jore bestehet. iSI allch bipweilen. wie- a major semitone, is also periodically en. only to durational changes incurred by a schematoides. specifically to
wohl fast nur in Soliciniis anzutreffen, countered. albeit almost exclusively in
doch nur descendendo. vocal solos, alld Ihen only descen ding.
rhythmi c diminution. It is the only one of his figures which he descri~ s
as a "composite" figure (jigura compos ira), even though he suggests In
, his introduction to the figures that thi s is a separate classification. AI

~ u"" dein H.",

H,'
~I
,
I
ge - we - ,eo
I
,,
though jigurae composi(ae do not receive separate attention, Vogt
supplies examples of various figurae simplices (groppo, messan:a,
cire% . lira(a) which are "compOlUlded" in a pha1llasia. 1 The schema-
Salrus Septimae regularis sowohl Nonae Leaps of a regular seventh and nillth in
(oides is not li sted, however. Wlder the omamentalfigurae simplices but
als anderer lntervallorum so fiber die Oc- addition to intervals exceeding an octave rather among the expressive figures ideates. Vogt thereby wishes to
tave sind, setzeI man itro auch kllhner als are also employed more boldly today underscore the expressive potential of rhythmic diminution, which can
vor Alters, zumahl in Ba~-Stimmen wel- than previously, especially in bass voices
che wohl Disdiapason herunter springen.
be applied to any musical configuration. The schematoides, equally
which can even leap down two octaves.
useful for restructuring simplices or ideates figures, thus compounds
both categories of figures while retaining its expressive property.

SCHEMATOIDES : a figure which restructures a previous passage or Printz (I'hrJllis M)t ilenoeus pt.2, p.69)
configuration, either through changing text Wlderlay or through dura- Schematoides ist tin Modulus, 50 einer SchemOfoides is a figuration constructed
tional augmentation or diminution. Figur zwar denen lntervallen nach I out ofthe same intervals of a certain fig-
gleichet I aber doch Prolatione, odet an ure, but it differs either in duration or in
der Anh hervor zu bringen I VOIl dersel- th e manner of execution from the same.
The schema/aides is described as various methods of restructuring a ben unt~rschi eden ist. Schematoides ist The sehe/llo/aides is either per!ecfus or
motive or figure by both Printz and Vogt. Schema is the general Greek entv.eder Pcrfcctus oder Minus Perfectus. mimfl' per/eell/s . It is per/ecfU! when the
Schematoides perfectus ist I wenn die notes Rnd intervals are the same as those
term for "form" or "model," also meaning specifically rhetorical formu-
NOlen \U1d lntervalla durchaus einer of a figure but is SWlg to numerous sylla-
lation or figure. As such it is translated into Latin withfigura or model- Figur gleich seyn I iedoch nicht in einer bles instead of only to one. This is to be
lum. As a rhelorical term,jigura or model/urn refers to a configuration I sondem vielen Sylben hervor gebracht found only in vocal music.
similar to an architect 's model of a structure which reflects the propor- werden: Und dieses ist al1ein in Stficken
I so einen Text haben I zu linden.
tions of the structure in a smaller scale. 1 Likewise, the musical schema-
toides (from scheme to ios, in like form) presents a formulation similar
to the originaljigura or schema.
Although a great variety of musical-rhetorical figures are used to
effect various hannonic and melodic structural changes, the schema- o mnes lassl ",'.m;,.,";",,,, ,~".;"'"."'G<'" k>ben.
taides is unique in its concentration on durational or rhythmic manipula
tion. If the original notes and duration are retained it is termed per/eetus.

L "'C011lponWltur etiam ad passagio quadruplicis ordinis ligurae; ut supra hane

I. Sonnino. Hmwbook, 100. phantasiam .,'. CondQ \'~, 149.
384 schema/aides subsumptio 385

Schematoides minus perfectus iS1 1 wenn The schemalOides minus perfectus occurs STENASMUS: see SUSPlRATIO
die lntervalla zwar glcich I die ProJatio when the intervals are the same but of
aber langsamer geschicht. Dieser is! ent- [ongeT duration. This is either magis con.
weder magis Congruus, oder minus Con- grUII:> or minus congrllUS [with more or SunSUMPTlO, QUAESmO NOTAE (CERCARDELLA NOTA):
gruus. Magis Congruus Schematoides is! less correspolJ dencej. Alagi:; congrWG various additions oflower neighboring notes.
I wenn die tntervalla eineTley I und die schematoide$ occu rs when the intervals
NOlen zwar langsamer als in def Figur. are the same and the notes are slower and
iedoch aber mit den Noten der Figur yet in equal proportion to the notes of the The various methods of adding lower neighboring notes, to which the
Proportionales seyn. Schematoides minus figure. Schemotoides minus COllgl"llllS anlicipalio could also be added, can be summarized as follows: (I ) a
Congruus ist I wenn die Interva Ha zwar occurs when the intervals are the same as
gteich seyn einer Figur, die Noten aber
lower neighbor can be appended to a principal note at the end of its dur-
those ofa figure, but the duration orthe
ni cht mit einander Proportionates seyn. notes are not of equal proportion to those ation before moving on by step or leap to the next principal note; (2) a
orthe figure. lower neighbor can be appended to a principal note moving by step,
Magis Congruu! Schemalok:l : thereby halving its dW'ation and prematurely introducing the subsequent
note if the stepwise progression descends, which is also known as anti-
II cipalio or slIbslImplio poslpositiva; (3) the duration of a principal note
Minus Congruus Schematold' can be halved by appending to it the lower neighbor of the following
I
$ I
principal note, which is also known as cercardella 1I01a, quaesilio notae,
or subsumptio proepos itiva. Bernhard lists the three related figW'e s
anticipatio, qlloesitio nolae, and sllbsumptio separately in his Troctatlls. 1
Vogt (CQncla~'e p.I SI)
Schematoides. Figura composita est. cum The schemaroides is afigura composita. All three figures share two common elements: a lower neighbor is added
idem modulus a voce una proportione occuring when the same moollflls which between two principal notes of a voice; the duration of the fust principal
longa, ab alia lardius incipienle propor appears in longer note values in one voi ce note is shortened to compensate for the additional note. The term sub-
tione brevi tandem oonfluit: ut exemplum is introduced confluently by another
est in lUla nostra Missa ad Ires choros: voice begiIming somewhat later in shorter
sumptio itself signifies one of the various figW'es ' common elements,
note values. An example can be found in namely the addition (sllmere) of a lower (sub) neighbor. Presumably on
one of my masses for three choru ses: account of these similarities, the various figure s are all incorporated
Wlder one figure in Bernhard's Berichl. The condition (in the Tractaills)
~
~
!;JE
K, - rl - . - - ; - ",,,
that the sllbsumptio only be used in stepwise ascending passages (or the
anticipario in stepwise descending ones) does not appear in the Bericht ,
thereby permitting the new variants of SlIbsll11ltio. Furthermore, the
~ E reference in Berichl that the sllbsumptio is also called cercar della nola ,
Ital ian for quaesitio lIotae (which is only encountered in the Tractatus),
Ky-ri - e e- Ie -ison
also underscore s Bernhard's intention to merge the related figW'e s.
To dilTerentiate between the variants of slIbsumptio in the Berichl,
Bernhard introduces the modifiers postpositiva andpraepositiva. In both
SECTIO: see TMESIS instances, the added note is appended to and affects the duration of the
first of two principal notes. However, while postposiliva signifies the
SEXTA S UPERFLUA: see CONSONANTIAE IMPROPRIAE

SIMUL PROCEDENTlA: see FAUX BOURDON

I. See Al1Iicipario.
386 subsumptio s lI bs unrpfiQ 387

unt em inler.al1o gcsetzet wird. dadun:h degree lower. thereby searchi ng for the
lower neighbor of the preceding, shortened note, praeposiliva refers to subseq uent note, as it were. This is fre-
dcl!n gleichsam die fol gende NOlI' ge-
the lower neighbor o f the subsequent, unaltered note. The pre-positioned suchet wird. Sie wird gar om in herunler- quently em ployed in descending passages
subs llmplio, which can be used in passages moving by step or leap, steigenden NOlen. sellen aber hinauff- b UI seldom in ascending ones. eJl;.cept in
wiinS gebrauchl. es \\ are denn in einem aptusogio.
seems to be " searching" for the subsequent note, lending it the name
Passaglo.
cercar d ella nola , or qllaesitio notae in Latin. The s ubs umptio pOS1~
positiva is limited to passages which ascend or descend by step, thereby
incorporating the prerequisites in the Tractatus for both the anricipatio
and the subsumptio. An anticipation of a note can only be realized if the
post-positioned lower neighbor to the preceding note occurs in a step-
wise descending passage. In a passage ascending by step, the post-
positioned lower neighbors would need to leap up a third to the follow-
ing notes rather than anticipating them, paralleling the s ubs:Jmptio 81 hel nal fhch also

~'
"
definition in the Tractatus .
~ ~ ~,
Walther' s definition of subsump/io in his early treatise includes all !'
the variants in terminology, using the Italian cercar della nota instead
of the Latin quaesitio notae. However, he does not restrict the figure to
~ ~
the second part of a note ' s duration but states that the additional neigh-
boring note can be added to the beginning or the end of a note . Thus he "
uses the term praepos itiva to refer to an added neighbor positioned at Bernhard (1 ,actcIllIJ p.72)
Subsumlio iSI, " e\\l1 ieh ciner natiirl icheJI The slfb.flmrplio occurs when a regular
the beginning of a note or on the beat of the affected principal note. His NOlI'. delen folgende:' ei ne SecWlde.stei- n()(e which is followed by a note a second
example indicates that he does not even wish to limit the added note to get. etwas dcrgcslah neh me. dap it'h sol- higher has a portion of its duration sub-
a lower neighbor. This expansion (or misinterpretation) of Bernhard 's chI'S der erslen im nltchsten lnlervallo tracted in such fashion that this portion is
wilen anhiinge:'. SubsulIllio hat mehr Platz appen ded to the first note one step lower.
praepositiva leads him to describe a figure which is virtually indistin- It is mo re suitable where two conso-
an dem Orte \\'0 2 C01l50n anlien auffein-
guishable from the accentus, a fact which he explicitly mentions. Al- ander folgen al s irgends im Tran situ oder nances follow e!U;h oth er than in conj unc-
though his subsumptio post positiva is closer to Bernhard's figure of the Syncopalione. tion widl II /I"alls iws or syncopotio.
same name, he does not restrict it to a passage moving by step. As his
Dieses wUrde natOrlict1 also stem muuen.
example reveals, in employing the figure in a line which descends by
thirds, the s llbsumptio appears more like a rhythmically altered passing
note or an added accentus than a melodic anticipation. The only remain- ~~ - ...'-
:g
,
~
:=zI:
ing way of effecting an anticipation is to anticipate the following text
syllable instead o f note, a procedure which Walther incorporates with
the term anticipatiolle della sy/Jaba. Walther avoids all the confusion in
6, a
f-
. -E
~ .

~
f' f'

his Lexicon by listing only anticipatio and cercar de/Ja nola. Bernhard (Hl!ricl1( p. 148 )
Subsurnti\l \"on den It alHtnem Cercar The:' slIbsumptio. called cerear del/a nota
Bernhard ( Trac/a/us p.81) della nota genennel. iSI. wenn ich einel by the Italians. occurs when something is
Quaesitio Notal' ist, wenn einer vorher- The qllae.s itio "Qlae occurs when the part Note im nllchsirnilller.all o etwas unter- added to a n()(e at the nexllower p itch. It
gehenden Note etwll5 abgebrochen wird, which is broken off ofa preceding note is wens hinlouse:'tloe. Un d ist 2:weyerley: is of two fomls : the next lower note can
dafl wiches fUr die folgende im n1ichsten placed in fronl of the following note one Oen n man entwedel dcm Anfange ode.- be appen ded either 10 the begi nn ing or to
388 SlI bS llmplio sUhs umplio 389

dem Ende der Note unten etwas anhen- the end of the note. If it is appended to pos iti v a wi rd abeT auch oft tiber Inter- however, also frequernly found with leap-
get. Wenn man dem Anfange unten etwas the beginning, it can be called sub- I'allen gefunde n so da springen. ing interva ls.
anhenget. so konle man sie Subsum- .w mplio praeposilim. as in this example.
tionem praeposilivam IlCIllleli wie in die- Walth er (Praecepla p.IS3)
sem Exemptl . Subsumptio . Von denen ltaliaenem Cer- Subsumpl;o, which the Italians call cer-
car della nota, d.i. ein Suchen der Note car della noto. that is a searching of the

~ ,., genennet. i SI zweyerley. 1) Wenn man

dem Anfan ge einer Note, oder 2) dem
Ende tiner No te etwas unlen anhlinget.
Die erslc Art kann genennet werden SuD-
nOle. is of two forms, namely when some-
thing is appended to the beginning or the
end of a note at the next lower pilch. The
first form can be called subsllmptio prae-
sumptio praepositiv3 oder Anticipalione positiva or anticipatione defla nola. For
~ ~
della nota. Z.E . example:

.. 1
l solt~ also seyn.
J Jj ;, J J IN
II
~ 'F Diese Figur katm von dem Accenl wegen Because oflhe similarity, this figure can
der Verwandtschaffi kaum unterschieden hardly be distinguished from the aceell-
~ werden, al s nur hierinne, nem!. dap der IllS, except, namely, that the aeeen/IIS is
Accent meisl im Anfange und Ende einer mostly used at the beginning and end of
Noten gebrauchet, diese Figur aber sonst a note; this figure can also be employed,
Wenn man der NOie am Ende eine anhlin- If it is appended to the end of the nOle, it in vielsylbigten Wonem kann ange- however, in multisyllable words. The
get, so konte man sie Subsumtionem call be called subsllmplio poslpos/lira . III bracht werden. Die andere Art kann ge- second form can be called slIbslimplio
postpositivam nennen: In singenden Sa- vocal music the Italians at times call this Denne! werden Subsumptio post positiva posl positiva or antie/palione della s)'/-
chen heipen sie die Italiltner zuweilen anticipolione del/a sillaba, at times cer- oder in Vocal-Sachen Anticipatione della laba in vocal music, also errare. For
Anticipatione della Sillaba, zuweilen care, as: syllaba, auch Errare. Z.E. example:
CereaTe, alp:

~~~~~~~~~~
~ ~

'Ot
Psal- lam,_ psal ..
I m> _ _ De - 0_ _ me - 0. _ __

~
Solie also seyn.
~ ~~ =
~
Walther (Lexicon)
Cerear della Nota ein Suchen der Note, The eereardella nOla, a searching for the
-
heisset: wenn zwischen 2 per tertias auf- note, ocellrs when, between two ascend-
oder absteigenden SubstantialNOlen, ing or descending regular nOles separated
noch eine eingertlcket, und in der execu- by a third, yet another is inserted and is
~ tion gantz gelinde mitgenommen wird; ist very gently executed in perfonnance. Be-
also von dem Accent, wegen der Ver- cause of the similarity, it is hardly distin
wandschafft, kawn zu unterscheiden, nur guishable from the accentlls, except that
Aup diesem Exempel ist zuersehen, dap From this example it becomes evident dap dieser meist im Anfange, und am the accentllS is mostly used althe begin-
die Subsumtio postpositiva nur aUein that Ihe $lIbSlimplio postposi/il'a only Ende einer Note gebraucht wird; das Cer- ning and end of a nOle, the cercar della
stattfmde!. WetUl die Noten eine secunda occurs when the notes rise or fall a se\;- car della Nota aber auch sonst in vielsyU- nota, however, can also be employed in
fallen oder steigen. Die Subsumtio ptac- ond, The silbsumplio praepositil'o is, bichten Worten angebracht werden kan. multi syllable words.
 390 susperuio 39 1

SUPERJECTIO: see ACCENTUS Gottsched (Dlclllkrlllsl P 33~)

Es folgt i170 das !\\lfhalten (S uspensio) Next follows the delay or suspensio
als die XVIII Flgm. wenn man nam lich which occurs when an oration begins
SUPPLEMENTUM: see PARAGOGE eine Rede ganz \"on weitem anfangt. lind from a rcTllOte point and progresses for a
t ille gute Weile dUTch \ iell' Umsch\\eife considerable tillle through numerous di-
fortftihrel. dap deT leser oder Zuh1lrer gressions in such a manner that the reader
S USPENSIO: a delayed introduction of a composition' s principal
nieht gil'ich IWIS. \~ as deT Poet hahen or listener cannot immediately discern
thematic material . ",i ll. sOlldl"m das Elide erwartcn llIujJ. 1\0 the intention of the poet, but must awail
5ith deT Ausgang 1-um Labynn the. \'on the end where the exit from the labyrinth
skh selbsl ztlge! Dlcscr Kunstgriff lSI becomes self-evident. This figure is well
The musicaJ-rhetorical suspensio has little in common with the harmonic
sehT gut. die Leutc 3ufmerksam zu ma- suited to make the listeners attenti ve.
suspension, a device covered by figures such as ant;cipacio, ligatura, cher..
relarda/io, synaeresis, and syncopatio. Scheibe, who fIrst introduces the
Scheibe (Cnmclter \/1I$r(>IIS p . 69~ )
suspensio into the musical Figurenlehre, followed by Forkel, models hi s
Die IXle Figur iSI d~s Aufhahcn. (Sus- The next figure is the delay or suspensio
definition of the figw-e on Gottsched's rhetorical definition. Characteris- pensio,) WeJ.Ul man eincn SaIl ganl von whi ch occurs when a passage begins
tic of many of his figures, Scheibe'ssuspensio concerns the arrangement weilem anf:ingt. und cine gUle Wei lc frolll a rt:lllote poi nt and progresses for a
durch viele Umschweifc fortHlhret. da~ considerable time through numerous di-
or disposilio of the composition. The figure is used to structure an entire
der Zuhorer nicht gldc h "" cis. was des gressions in such a manner that the lis-
movement or composition rather than to embellish a particular passage Compon isten eigentliche MeYTlu ng ist. tener cannot immediately discern the in
or subject. Although the suspensjo is not to be found in musical Figuren- sondem den Sch lu~ erwanen m u~. wo tention oflhe composer but must await
slch die AufioslLn g \ 'on sich selbst zeiget. Ihe end wh ere the resolution becomes
lehren before the eighteenth century, it is a familiar rhetorical device
Man mup di ese Figur nicht mi t dem self-evident. TIlls figure is not to be con-
si nce antiquity. Quintilian identifies such a delay with a similar term, Z..... eifel verwec hseln. de r gewissemillpen fused with Ihe dubitalio, which has a cer-
slIstentatio. 1 While he does not indicate the point in an oration at whi ch eine Aehnlichkeil mil ihr hat. Sic belriffi lain si milarity 10 it. The s uspensio does
the fi g ure is to be employed, both Gottsched and Scheibe specify that niclll die Ungewi~hei t der Tonan. aus not concern an uncertainty in the in-
wel cher mall seIZe!. al~ II e1ches tin tended tonality. which is the essence of
the sllSpensio is to be used at the beginning of a work. This is furth er eigelltliches Wesen des bleifels ist 5011- th e ({u bi/Olio. but rather concern s the ar-
clarified through Scheibe 's lengthy illustrations. Both Scheibe and dem sie belriffi die EinrichUing des An- rangement of the opening of a piece. Fre-
Forkel emphas ize that the suspensio is not to be confused with the fangs cines Stlickes. So laP\ mall schr oft quemly. a recitative is allowed 10 begin
ein Recitali\' mit emelll Gerausche der wilh a flurry of instruments wilhout an
dubitatio. The suspensio is not to cause uncertainty or doubt in the lnstrumell lcll anfangen. ohne dMi nnen indicalion of a specifi c SUbject. The lis
listener but is to heighten expectations or suspense. The listener must be einen ge\\ issen Satz lum Grunde t il le- tener is held in suspense lip to the point
convinced that the composition has a definite direction, even though the gen: und der Zuhtirer wird so lange ofthe si nger's enll)', when the explana-
aufgdla llen. bis Cfldlich die Singestimme tion of the preceding digression is disco\,-
intended goal is not initially perceptible.
eintritt. ull d die Erkliirung uel vorher!;e. creel. Funhennore a slow mO\'emenl in a
gangen el1 Umschwdfc enldetket So I ~~I concerto vel)' frequently begins with a
Quin tilian (llls/il/itio IX,ii.22) man fem er in Com:erten stht oft cinen powerful and enthusiastic passage for the
Oeinde. cum di u suspendisset iudicum And then, after he held the judges in sus- langsa mell SaIl mit ciner st31'kell und strings un til fina ll y the concerto instru-
animos, subiecit, quod multo esset impro- pense for some time, he added something schwa rmenden Modulation der Geigen ment enlen with a pleasant melody, in
bius. Hoc Celsus sustentatiooem vocal. much- wOr.le. This Celsus caUs suSlell' anheben. bis endlich das Coneen lnstr\! corporating the preceding foreign and
lolio. mcnl llli t einer angelleh mcn Mclodie ein- digressing string passage. This is also
trill. WId die I'orhergegangenen flemdl'n customary in altered circumstances in fast
lind umsc hwei fenden S:llze der Geigen movements. where, for example, the con-
dam it Icrbindet. Dieses pnegt man lI\!ch certo begins wi th a completely foreign
In it ver:l.nderten UmsHillden in geschwin- kind of me lody more suitable to a sym-
den Sallen zu thun : da~ man namh ch CIll phony. The listener cannot judge with
I . In his translation ofQuintilian's inslitulio, H. E. Butler translates sustentolr'onem Concert tIIil einer gan1, fremden Art \'on certai nty whal he is about to hear until
with s uspensio. Melodic allfiingt. die mehr einer Sym- the conceno voice finally enters alon e
392 suspiratio ,f!lsp jrQliO 393

phonie gemll} isl, und dap der Zuh05rer with its own theme or onc based on the Kircher discusses the figure twice in his Musurgia, first under pallsa
nich! chef gewiP uMeilen kann, was er preceding material. ... It is the di Stin_
zu hOrm btkommen wird, als bis sich guishi ng property of the slIspfnslo to
and again under clima.x. Whi le the inclusion of s llSpiratio with pausa is
endlich die Concerutimmc mil ihren ci- move the Iisfener to attentiven ess, for self-evidenl. its connection to the climax is explained through the exam-
genen, oder aus den vomergehenden ge- which the figu re is particularly well ple which the two figure s share: "As Ihe deer pants for the water brooks,
nommenen SlItten, allein hOren IAPt .... sui ted.
so my soul pants for Thee. 0 God.'" Here the suspiratio is to express
Es ist also die vomehmste Eigenschaft
des Aufhallens, die ZuhOrcr in Aufmerk- both the panting as well as the affeclion of longing (suspirantis animi
samkeit lU !men, als wozu sic inoon- affecws). The figure functions as the musical source for both the specific
derheil geschickl ist. image as well as the intended affection. As he explains in his definition,
Forkel (Guclriclrte dtr MUfik p .57) eighth and sixteenth rests are also called suspiria because they are used
Die Suspension (das Aufhalten) besteht Through the s llsperuio or delay. a pas_ to express such sighing and groaning. VOgl's definition of stenasmus is
darin, dap man einen Satz durch viele sage is advanced through numerou s di. found only in his introductory glossary. Here he also lists tmesis, de-
Umwege so fonfllhn, dap der ZuMrer gressions in such fashion that the Iisten.:r
die Absicht desselben erst am Endc perceives the purpose of the passage onl y scribing it as a divisi on o f a suspension through short rests or suspiria.
Merkt. Diesc Figur nlUp nlchl mit der at the end. This fi gure is not to be con In his later discussion oflhejigurae ideales he defines aposiopesis and
Dubilation verwechsclt werden, m it wel- fu sed with the dub itatio. with whi ch it tmesis, examples of both categories of figures of silence. 2 His defmition
cher sie einige Aehnlichkeit zu haben appears to have some similarity. For th e
scheint. OeM sie isl eigentlich Ausdruck su.spellsio is, in fact, an expression of de and example of the aposiopesis describe brief silences in the vocal line,
cincr Verz6gcrung, nlchl aber einer lay, not, however, of uncertainty. expressing a question (interrogatio) and reflecting the understanding of
Ungcwij3heit. the brief suspiratio rather than the more common understanding of
aposiopesis as a general pause.
Printz and Walther define figura suspirans simply as a modified
SUSPIRATIO, STENASMUS: a musical expression of a sigh through figura corta in which the lo nger fi rst note is shortened by half through
a rest. a rest. As in all of his definitions, Printz does not wish to identify text-
expressive devices but simply methods o f embellishment. Walther
The expressive use of pauses to reflect the text is a well-established defmes the lenn with the same intentions. It is significant that Walther
practice in Renaissance music. l The various musical fi gures of silence does nOllist the ternl wlder sllSpirans but rather figura, implying that it
can be classified into two categories : those signifying a breaking off or is simply a notational device. The two categories of expressive or affec-
rupture o fthe musical line (abruptio, ellipsis, tmesis), and those signify. tive figures of silence are represented in hi s Lexicon by abruptiO and
ing the ensuing silence (aposiopesis, homoioptotolJ, homoioleleuloll, aposiopesis.
pausa), including sllSpiratio or stenasmus. The suspiratio or stet/usn/US
(from suspirare, slenazo, to sigh, groan) refers to a specific use of rests Kitcher (MUSli rgia L.8. pp.144, 14 S)
within a composition employed to express sighs, gasps, or affections of Ad hane Te\'ocari pot est ate vc:aflo~ sive At this point the :rlenasmus or suspiralio
suspiratio, dum per paus es fu sas, aut can be mentioned, through w hich we ex
sighing or longing. The tenns do not appear as rhetorical figures; expres-
sions of silence as such would fall under the domain of eloculio and
would not be a part of the fonnal structure of an oration. in contra st ,
I. Psalm 42.1 (New American Slandard tran slation). While rests in th e passage
musical pauses must be notated in the composition.
exemplifY the suspiratio, the rising progression is an example of the climax. See Climax.
Gradalio.
2. The second defin ition of Ime.sis-' a sp lintered passage"- is illustrated through
a musical example 10 the text Jtlspiro ad te (" I sighlpantllong for you"), an example
L See Pausa. which would do equally well to illustrate . Slena.smus o r suspiratio. See Tmesis.
394 synaeresis 395

semifusas, quae & ideo suspiria vocanlur, press affections of groaning or sighing Of the t'\\ 0 musical definitions \\ rueh synaeresis receives, vogt 's de-
gemenlis, &: 5u5piranlis animae affectus with eighth or sj,ueenth rests, which an:
exprimimus. therefore called suspin'o .
scription cOmes close<;1 (0 Ihc rhetorical understanding of the figure .
Para llel ((I a grammatical contraction . two syllables can be fused to
Ad hane I'n'OCIlIi potes! stenasmus id est At thi s point the s/ella.Jmus or SUSpirr..tIO correspond to one nOle in the music. Likewise. two notes can accompany
suspiratio. quae varils suspiriis per pau- can be recalled, which naturally ex-
535, suspiranlis animi affectus naturaliter one syllable. hArdly rill uIlusUAI occurrence in vocal music. Bunneister
presses affections of sighing through vari_
exprimi!. ous sighs c~ated through pauses. introduces sYllaeresis in his Alusica Aliloschediastike as the preferred
tenll for sYllcopa. exp laining that it is a conglutination or contracti on o f
Printz (Phrynis Mytilenaeus pt.2 , p.60)
twO parts into one. Ln choosing the rhetorica l over the lraditional musical
Figura suspirant ist niehu and~s I als The jigwra slUpirans is nothing other
cine Figura Corta, weicht an stan der than ajigllra cor/a which, instead of its
lerm. Bunncisler intends to establish a closer link between the two
{Orden lilngem Noten I eme halb 50 gros- first longer note. has a pause half its dura- discipli.ne!;. In fact. the rh..::ton cal device of synaeresis is a more accurate
se Pause und cine denen andem beyden tion and a nOle of equal duralion to the desc ription of the musical device than is the rhetorical syncopa: while
gleiche Nolen hat. other two notes.
s)'l1copa signifies an omission of a letter or syllable, synaeresis signifies
a fu sion.
Burmei ster defines the tenn only toward the end ofltis definition o f
s)'ncopa, \\ ithout making any reference to the placement or resolution
Ja.llovka ( Clm'is p.55) of dissonances. Thus the synaeresis can be understood as a rhythmic
Ad hanc revocari potest Slenasmus, id est At th i5 point the stenasmus or suspirmiQ suspension or syncopa tion, not necessaril y including a dissonance or
suspiralio, quae varii$ suspiriis per pau- can be mentioned, which naturall y ex-
sas, 5uspirantis animi affectus natutaliter presses affections of sigh ing through vari-
hannonic suspension. [n the syncopa definition in his Hypomnematllm.
exprimit. ous sighs created through pauses. BWll1eister differentiates between these two fonus as being "relatively"
and "absolutely" consonant. His musical example, common to both
VOg! (Conc/ave p.7)
treatises. includes suspcnsions \\ith and wilhoUi dissonances, some being
Stenasmus, tractus in cantu 5uspirando, SWlasmlU is a sighing, groaning passage
~mendo. in a composition . purely rh) thm ie, olhers combining rhythmic and hannonic displace-
ments. Whether Bunneister wishes to differentiate between these two
Walther ( Lf!.licOll)
fomls of syncopation with the tenns s)'ncopa and synaeresis, or whether
Figura 5uspirans ist eben WtU Figura co r- The jigllra slUpiralls is like II jigrlra
Ia. nur dap sie, an statt der vordem UIn- carta except that, instead of the first lon- he wishes to replace S)'lIcopa with synaeres is altogether is not clear. In
gem Note, cine halb so grosse Pause, und ger note, it htU a pause half its durat ion. any event, in his Musica Poetica Bunneister returns to the customary
drauf eine den andem beyden glciehe followed by note of equal duralion to
Note hat.
term . only includ ing s),naeresis in the heading to his Sy"COpa definition
the other two noles.
without men tioning the te nn agai n in the description oCthe device.

SusenbrolUs (l:-,m()lIIe p24)

Synaeresis EU\' cr:(p(JI~ eSI quolies ex A .Iprael"f'Slf occurs when one syllable is
SYMBLEMA : see TRANSrroS duabus syllabis inter modulandum com- created out of two, compressing the
pactis. sit una. rh)1hm ic meIer.
SYMPLOCE: see COMPLEXIO
Bumleister (;\IrmC(I AII/r)sdlediasli/w)
SYNAERESIS: (I) a suspension or syncopation; (2) a placement of tWO Pro syncopa malim uSlIrpari Syneresin. Instead of s)'tlcopa I would prefer to use
qUlle est duamm partilUn in una!ll conglu- s),lIere.fi.f, which is a fusion aftwo pans
syllables per note, or Iwo notes per syllable . tinalio. ou\'aipol~ eontraclionem \el into one. S)lIoeresis signifies a contrac-
 396 syncQpaliQ sy n CQPO/iQ 397
compositionem signific8t. Cuius hocesto lion or compclunding. Followin g is an
exemphu" in quo simul & semel onUlium
fuga and claus lila. as orllQmel1ta (i.e .. figures) which distingui sh the
example of this figure, delineating nearly
gmerom ferme exempla, quibus sirnilia. every fom} of th e fi gure all at th e same work o f Clemens. Ca lvisius considers the suspension most useful "in
omnium aUlorum carmina. vix pauca lime. Similar examples can be found with varying the music and explaining the sense of the text.,,1 Bunneister then
exhibent. sum deli neala. lillie difficult)' ill compositions of all adoptS the we ll-known musical device along with its name into his
t omposers.
FigurellJehre. inc luding it among the figurae harmoniae. Whether the
suspension occurs in one or nwnerous voices, it can only be perceived.
either hannonically. rhythmically, or both, in the context of the entire
strUcture. Bum1eister simi larly classifies the passing-note dissonance.
symblema, desc ri bing it as the antithesisofsyncopa. While thesymblema
incurs a dissonance on a weak beat, the syncopa generates one on a
VOg! (Conclave p .152) strong beat.
Sinaeresis cum dUBe notae lUtO situ pro A synaeresis occurs when notes 3ft
IWO In his Mus ica AlltOschediasliu he introduces the tenn synaeresis as
una Syllaba, vel dUlle Syllabae pro una placed fo r one syllable or two syllab les an alternative to syncopa but includes the same musical example used
nota ponlUtlUr, UI : are placed for one note. as in :
in his Hypomnemallim . In choosing this rhetorical tenn over the tradi-
tional musical telm, Bunnei ster intends not only to establish a closer link
between the Iwo di sciplines but also to adopt a tenn which most clearly
II describes the musical phenomenon. In fact , the rhetorical device of
Mil. 118, mil - lia ml- nl stra bant. synaeresis is a more accurate description o f the musical device than is
the rhetorical syncopa; while syncopa signifies an omission of a letter
or syllable, synaeresis signifies a fusion of syllables. 2 Similarly, the
SYNATHROISMUS: see CONGERIES musical syllcopa is consistently described as a fusion of notes resulting
in a shift in rhythm rather than as a certain omission. Burmeister may
al~ have been disturbed by the literal meaning of syncopa as a strike or
SYNCOPAno, LIGA ruRA: a suspension, with or without a resulting
dissonance . attack in describing a musical omamenl.ln spite of hi s apparent reserva-
tions about the tenn, he retums to using it exclusively in his Mu.sica
The suspension is one of the earliest devices described by music theorists Poe/ica definition.
as a means of artfully fashioning and embellishing a composition. I The Nucius inaugurates a new classi fication of the musical figures in his
fi gure is associated with rhetoric as early as the sixteenth century Figurenlehre , distinguishing between those figures which are essentially
through both its designation with a rhetorical tenn and its use as a Icxt- technical musical devices and those which are more closely linked to the
expressive device. Dressler, who establishes a number of parallels text- and affection-expressive rhetorical fi gures. Nucius, Thuringus,
between music and rhetoric, highlights the sYllcopatio, in addition 10 Kircher, and Jano"ka identi fy these categories asfigurae principales and
jigllrae minu.s principales , respectively. Thuringus, who adopts a great
deal ofNucius's \vritings, makes significant changes to the classification
I . The tenn " suspension" is nonnally used as the English translation of
syncopalio/sycopa throughout this text on the grOlU1ds that, li ke syncopa/io.
" su s~ension" implies a "harmonic syncopation" wi th an ens uing dissonance. TIle I . " ... ad variandam Hannoni am et ad energian textus demonstrandam." Melopoiia
E~gluh. term "syncopation." on the other hand. is normally undeT5tood as a rhythmic (Eriurt, 1592) ch.12; cited in Ruh nk e, Burme;sttr. 138.
shift or Irregularity, wilhout necessarily impl ying hannonic irregularities. 2. See Synaeresis.
 398 syncopatio 399

of the figures. In addition to substantially increasing the number of figures is frequently mentioned b) Bernhard, including in his definitions
musical-rhetoricaljlgurae minus principales, he removes the syncopatio of slipe/jee/io. SlIbSIIII/lio, IIIIIIIip/ica/io. pr%llgalio, ellipsis, mora, and
from this category and places it among the ''principal'' figure s, along he/ero/epsis. Similar frequent mention is made o f the transillls, reinforc-
with j uga and Iransilus. Thuringus's grouping of the figure s is then ing Bernhard's intention to explain the various hannonic irregularities
adopted by Kircher and Janovka, as well as Bernhard and Walther, who as /icellliae or de\ iations \\'hich are nonetheless based on traditional
rename the categories as figurae jundamentales and figurae SUper_ composit ional de\'ices. Walther lists two further types of syncopatio in
fieiales. At the close of the Baroque era these three ''principal'' or "funda- his Lexicon: the syncope cOI/S01lOIlS aeqllivagans. in which all voices are
mental " compositional devices are still regarded as a unit, even though simultaneously syncopated, thereby avoiding any dissonance, and the
their importance as text- and affection-expressive figures is questioned. syncope C0l1S0llallS deso/ara, in \\ltich only one voice is syncopated but
Scheibe describes them in an appendage to his Figurenlehre as merely without incurring a dissonance. "nle "consonant syncopation" is already
elementary rules of musical composition. included in Jano"ka' s definition o f the fi gure (sine dissonantiarum
Kircher like Thuringus counts the syncopatio among the figurae cOl1llllissiol1e) and is also suggested by Bunnei ster in his discussion and
prineipales. Because he explains this device earlier in his Musurgia, he example of the synaeresis. Because o f Bernhard 's concentration on
only mentions it in passing in the chapter deating with these figures. dissonance usC', hc does not discllss such consonant syncopations.
Janovka, on the other hand, who adopts Kircher's Figurenlehre virtually 111e syncopalio is discussed on ce more in Scheibe's Figllrenlehre,
verbatim, defines the syncopatio at some length Wlder the figurae prinei. albeit only in a footnote. The constant evolution of the concept of the
pales. He also points out that the Greek tenn is translated into Latin \'lith musical-rhetorical figures is reflected in the relative importance assigned
ferio , verbero, meaning to strike, beat, assail. The syncopatio fl ogs the to the s),Jlcopafio. By the end of Ihe Baroq ue era the suspension along
beat , as it were, assailing the established measure oflhe tactus. This with imitativc counterpoint (fllga) and passing dissonances lose their
focus on the irregularity of the rhytlun rather than the dissonances whi ch position as principal and fundamental methods of structuring and orna-
might ensue is Wlderscored by his explanation that the syncopacio can menting a composition. The primacy o f the structuraljigllrae principa/es
occur with or without dissonances, depending on whether only one voice or fimdamemales gives way to the expressive and affective musical-
or all voices are rhythmically shifted or altered. rhetorical figure s through \\hich a composer. in Forkel's words, is able
True to his concept of the musical-rhetorical figures , Bernhard to indiyidualize general sentiments.
highlights the dissonant elements of the syncopatio or IigalUra. The tenn
IigafLira is a familiar teno since medieval music theory, signifying the SusenbrolUs (Epifollle p.22)
S)lle~. est eum litera vel syllabe e die The SYIlCope occurs when a letter or syl-
"bi nding" (/igare) o f two or more breves in thirteenth-century modal
tionis medio toHitllr. lable is removed from the midd le of a
notation. This concept of binding or tying two notes together to fonn one word.
ligature is transferred to the suspension. Although Walther uses both
Burmdster ( HII'Ollillemllltml)
tenus in hi s Praecepfa, he chooses to describe the tenns syncope and
Syneopa cst S~n1blemati contrarium. si t The S.\'IIcopa is opposite to the symblema
/igatllra with their originai definitions in his Lexicon. Both Bernhard and licet vicinum olllamentlllll. dU3s partc5 blLt allows II related ornament. It occ urs
Walther al so list further fonns of the syncopatio. In a quasi-transitus the aliClUus l:lctus vel inlcgri \'el dimidii: vel wh en two parts of II certain whole, half.
etiam quadnmtis. in aliqun vocc cOllg or quarte r {aCIJ/S within oue voice are
syncopated note is articulated anew, either on the strong beat (i.e. , the
menlans. qnamm posterior par~ ex joined. The latter part of this contraction
di ssonance) or immediately thereafter, before resolving. As his examples contractione, rei alive consonat. quam results in a reflllil'a consonalllia whi ch is
indicate , it can also anticipate the resolution in situations involving a mox in locum delllissulll proxillle vici pleasantl y followed by the lower neigh.
nWlI consonantia subsequimr congmens. boring consonan ce so that the entire
coincidental hannonic change by anticipating the next melody note
CUllllUliversa struclllra. quae non procn] struct ure does not deviate far from th e
before the bass moves. Such a combination o f syncopatio with other a natura clausularum abest Relati\'a con nature of the cadence. A refaliI'U con
400 syncopatiO .f)lIcopalio 401

sonanlia est, quae. licet cum iis quibus SQlranlia is one which, although it seems Bem hord (7h,ctalll p.67)
annexa est ad perpendiculum videatur to be di ssonant wi th those notes with Die S)11COp;llion. \\elche e1liche eine The s)'f1copalio. which some call I,ga'
dissonare, alque ob id pro discordantia which it is vertically aligned and on thi s Ligalur mmnen ist. weill! eine rilckende lura, occurs ....lIen a rhythmically shifted
haberi po5sit. non tamen propter Syn- aerount could be held for a dissonan ce. Note gegen eine Consonamz und Dis- note stands against a consonance and a
copen dissonat. Abso]ul. est quae cum nonetheless is not dissonant because of SOllalllZ stehe! l\13 Un ler die- rUc kenden dissonance. NB: notes extended through
onmibus sonis ad perpendiculum con- the S)T1C'opa . An a/)solula canSQllall l ia is NOlen gchuren :lU ch die durch einen a dol are also considered among the shift-
neX8. coosonat. one wh ich is consonant with all the nOl es Punkl vennehrten. Daher soli die riicken ed ones. Therefore a shifted nOle is to
wilh whi ch it is vertically combined. de Note gegen ih ren ersten Theil eine have a consonance against its firs! part
Consonantz. lind gege n den anderen and a dissonance against its second pan,
Bunneisler (Musica Poelica p.60) Theil ei ne Dissonan tz haben .... Die auff . .. The note following the shifted note
Syncopa (JuvlConr, conlrario modo se The s)'ncopa is opposite in character 10 die rO cken de folgel mu p ei ne Secun de must fall a second and be consonant.
habet ad Symblema. Syncopa committit the sym/)/ema. The S)'ICopD causes a di s- fallen und consoni ren.
Dissonantiam in Initio Tactll! Minoris, sonance at the beginning of a laCIUS mi-
vel etjam Majoris. Dis50flantia aU1cm ilia /loris or majoris . However. Ihat di sso-
est Di~alliia relaliva, &. pars soni prae- nance. as a pan of the taclus of the pre.
cedenti! tact us, cum qua ilia est per cedi ng note. i, a dissonanlia rel"t ila.
Syncopationem in unum aliquod integ- inasmuch as it is fused into a pure Icon.
rum conglulin8t8. Diversae eljam partes sonance) through the sy llcopa. Also. di-
in quoddam totum contrebllntur, quae verse parts are combined into a whole
ratione aequalitatis tactuurn & in tis which, through the requirements ofbolh
connexionum concordantiam di ssolulae a regular taCWS and in themsel ves being (fractal/IS p.70)
esse deberent. agreeing consonances, must be resolved. Quasi-Syncopatio iSI der gebllndeoen. , . The qZl(lsi-s)"copatio is a subdivision of
Stimme Au ffios ung. Die richte! sich the tied or shifted note. However. it fol-
Nucius (MI/sites Poeticoe p.Ol') allerdings o3ch den en Regeln der Synco- lows the rules of the syncopalio and has
Quid est Syncopatio? Cum contra tllCtum What is a syncopalio? When numerous pation. und hal kein e stall wo di eselbe no place where the syncopalio may not
plures Semibre10es notae diutius protrac- semibre>'e$ are extended against the /(IC' nicht Se)11 kan. Sie wird aber sehell ge- occw. Jt is seldom used. yet usually with
rae, tandem in cJausulam abeunl. ac usur- IllS but finally resolve in the cadence. It brauchl. doch zum meisten in der Quana. a fourth . as the fourth does nOI share the
palur crebenime in DiscanlU, in caeleris is used more frequently in the discant als welche doch nicht so sehr von der nature of diuonanccs to the same extent .
non ila frequenttt: figura omnibus notis- than in the othtt voices. As this fi gure is natur der Dissonanlzen panicipiret.
sima, ideo exemplo non indiget. most familiar to everyone, il therefore
requires no exam ple. . 9-- ,
~ .-
-
.. _ .
..
Thuringus (Opl/sculum p.119) T-
Sesquitur iam tertia figura principaJis. And now follows the third jigura prin-
quae est Syncopatio, figura omnibus cipolis. the sY/lcopatio. a figure most fa
~
o
~
~
0

notissima. Quid vocant Musici S}llCo- miliar to all . What do composers can 3
pationem? Cum majores notulae inC\usae syncopalio? When longer confined nOles
minoribus conlra laC1Urn incedun t, quae aTe advan ced against the laclus through (Tn/rial/IS p.77)
ralio &. artificiosum &. graturn & sua vem shorter ones. which rendm an anful. Syncopalio clllachrestica ist . wenn ei ne The syncopalio calachreslica occurs
reddit can1Um; usurpatur celeberrime in a~able. and pleasant composition. It is S)11COpalio nicht. wie die Regel erfor- when a syncopa/iQ is not resolved
Discantu, in caeteris non ita frequenter. used more frequently in the distant than den. durch eine folgende Consonantz. so through 8 subsequent consonance 8 sec-
in other vOiCCi. eine Secund e t iefl'er isl. resolviret wird. ond lower. as the rule requires. It is of
Ulld isl drcyerley: Elltweder di e: ge:bull' three kinds: the tied note may, in fact, fall
Kircher (Mllsurgia L.S. 1'.368) dene Slimme: nUt zwar tine SeclUlde aber 8 second but not to a consonance ....
Secunda figura eSI Syncopalio. de qua The second [principolis] figure is the lIicht in eine Consonatz .... Wo das erst e: Second, the first part of the shifted note
cum abundantissime in alio capitulo s)'rIC'opotio. which was discussed in gre31 TIleil der riickenden Note nicht rechl vOl is not entirely consonant. Third, the note
particulari actum fit. supervacaneum esse detail in another chapter. I find it to be: lig cOllso nirel. ist die an dere Art. Ode r following the shifted note does not fall a
arbitror, ea denuo repetere. superfluous 10 repeat it here again. di e Note. so auff die rilc ke:nde folgcl. nih second.
nicht ei ne Secunde.
402 .fyncopatio S) IIcopalio 403

Bernhard (lJericnt p.144)

Ligatur8. sonS! auch Sync:opatio genand, The ligalura. also called syncopDtio. oc-
ist. wenn cine rUckende Note gegen ciner curs when a shifted note is placed against
II
ConsonlUls lind DissOflans zu tinden. In a consonance and a dissonance. The fol-
soleher Ligatur ist folgendes zu beobach- lowing is 10 be observed in such a Iig~_
ten: I) daP sic sich rucken mi.ilk 2 ) dajl lura: ( I ) it must be a rhythmically shifted
ihre Helme gut. die andere sch limm sey. note; (2) its one half must be good. the
J) dap die nlichSle auf die rilckende fol- other bad: (3) the n()(e following the
gellde Note cine SecWlda niedriger stebe. shifted note must stand a 5eC'Ond lower. Cum Dissonantill rum inlenn ixllone enl A syllcopalio wilh intermingled disso-
Die Rtickung ist enlWedcr offenbar ... The rhythmic shift muse either be clearly slehef S~11COpaUO auf -lIe} Art lind wel s~' nances occurs ill four fonns with follow-
OOtf wird durch tinm Punct an der Note evident ... or it is impl ied through a dot worhey zu observi rcn. I ) Wie d ie Conso- ing considerations: ( I ) how the conso-
hmgend vtfSlanden. added after th e note. nant ien sich in D issonant ien vcrlindem. nances are altered into dissonances. and
und 2) \V ie diese hinw iederu m in (2) how the dissonances are again re-
Janovka (Clol,js pA 7) Consonantien sich resohiren. I ) 011 so lved into CQnsonances. Regarding the
Syncopatio seu Synoopsis VOl( a verOO The syncopolio or S}'"copsb, from the dann , was d as e r5le anl anget. \\ohl lU first point. it must be carefully noted that
graeco Syncopo, quod taline ferio seu G reek word Syncopo. tran slated into mercken is!. dap aile Dissonantien . ( 1) all dissonant notes must already be in
verbero in latinum transiata, sic dicta, Latin as Jerio (to strike) or l'erbero (10 "0111 vorhergehcnden Salle schon liegcn place from the preceding harmony; ...
quod notae sic COnlra tactum expressae & assail), is thus called because th e notes l1lii~en ; . .. 2) mull die sync opirte Note (2) the syncopated note normally musl
decantatae tactum mensurantis quasi feri- are expressed and sung against the lact!!s sich in thesi des Tactes ge meiniglich an- begin Oil an upbeat and end on a down-
ant vel verberent; ractus enim aequaiiter in such a manner as if to strike against or fangen. und in Msi depelben sic h wieder beat of a IOCII/S or begin a new synco-
mensuratur. notae autem Syncopatae assail the measured beat. For the laClus is enden: oder eine neue Syncopati on wic- pOlio: ... (3) the syncopated note must
inaequalitcr. sed contra cum quasi fran- measured equally, but syncopated notes der anheben . . . 3) nlll~ die S>llcop irtf? be of equal du ration or shorter but never
gunt ur. Unde definitur, qUQd sit irregu- are unequal and are shanered, lIS it were , Note mit der ,"other gchenden entweder longer than the preceding note. Regard-
laris nolae ad Tactum facta applicatio, against the laclus. It is therefore defined gleich. oder kiirtzer; niemah ls aber llinger ing the other point. namely the resolution
propter minorern nOlam praecedentem. as an addition to the lacilis of an irregular se;,tJ. Was nun nun andem, nem!. ofthe dissonances, the following discus-
Dupliciter fieri solet: primo sine disso- note through a preceding shorter note. Resolutionem Dissonan tiar um . anlanget. sion will present this in such a manner
nantiarum commissione, quae tamen Th is occurs in two forms: first, witho ut sind solche in folgenden also angc bradll. Ihat progressions apart from the presented.
improprie Syncopatio dicitur. Secundo causing dissonances, which are neverthe- dap dasjenige. was auper angeHlhncll ones cannot be considered admissible.
dissonantiarum interventione. less called S)?lcopalio impropri~; seeond, Giingen so lt e gefunden werden. nichl
with intervening dissonances. aller D ings ,'or lu l 1i~jg l U ha ltet!.

Walther (Proect'plo p.140) Walther (Lexicol!)

Syncopatio oder Ligatura isc, wenn die The s}'fIcopa/io o r figotllro occurs when S)-tJcopatio oder S}11COPC .. "om Grie- Syncopatio or syncope. from the Greek
NOlen wieder den Tact lradi rel werden , notes are placed agai nst the beat and re- chischen Verbo (Ju, p;or:tw. ferio. "erbe- synkoplo.ferio. ~'erbero, 1 strike, signifies
lUld so lange inaequaliler einhergeben, main unequal lUltil s uch time as they are roo ich schlage: bedeutel e illc" icder den a shifting o r division of a note placed
bi~ sie mit dem Tacte wieder in Qrdnung once again brought into agreement with Tact 3J1gebrachte RUck- oder Zerth eilung against the beal through cither a semi-
kommen. Dicitur a OUVICOJt1:W, i.e. ver- the beat. SYrlcopal/O, from sytlkOPIO, l'fr- ei ner Note. so ein Semible\'is, M inim a brevis. millima, or semlmiflima.
hero, ferio, quia nomiae sic contra tactum bero. Jen"o, occurs when notes are ex- oder Semiminima Se)11 kan.
expre55e et deeantatae, lactum qs. feriunt : pressed and SWIg against the beal in such
Syncopa!io catachresti c3. is!: wcnn eiue TIle syncopatio cOlochres/ira occurs
Tactus n . aequaliter mensuratur, notulae a manne r as if to stri ke against the beat,
dissonirende Note !licht. wie es sonsl die when a dissonant note is not resolved
autem syncopatae non ae:qualiter, sed resulting in an lUlequally measured /aclus
Regel erfordert. dorch ci ne folgeudc according 10 the ru le through a following
con tra eum Iractanlur. Diese Riic kung through the lUlequal syncopated notes
consonirende. di e um ein Grad tiefer consonance which lies one step lower but
geschicht entweder cum oder sine Dis- which are placed against it. This shift
liegt. andere. frerndcrc . weitelltlegenere. which seeks an evasion through another,
sonantiarurn intermixlione. Si ne Disso- occurs either with or without intermin-
und hohere Consunam., anch w olll gar foreign. distant. and higher consonance
namiarum inte rmixtione entstehet syn- gled dissonances. A syncopo/io without
durch eine abennahlige Dissonalll. cinen or even through yet another dissonance.
copalio auf folgende und andere dergl. imenningled di ssonances occurs in the
An. fo llowing and other s imilar manners: Ausweg suche\.
Syncope consonan s aequil"agans. oder The syncope consmWII$ aequivagarls or
syncopatio si ne dissonantiarum inte r- sJ"IcoplIlio sine dissono11liarum inler-
404 syncopo/io s} 'mmynrio 405

mixtione, ist: wenn allc Stintmen :w- m/:rtlOtlc(without intermingled disso- cine gemachc:t ""'iTd. also dall wider die oul oftwo by tying an accented note to an
g\eich ohne dissonanz ! ich rUcken, und nances) occurs when aU voices arc shi ft- gc:wohnliche Bc:schafTc:nheit oder Ein- unaccented one against the nonnal struc-
wieder den Tact gehen . ed simultaneously and arc: placed against theilung des Taktes, cine accC'nluine Note ture or division of the beat. This figure
the beat without incurring a dissonlUl ce. an die unaccentuinc Note gchlmden ist. actually serves 10 make the use of di~
Diese Figur dienet eigen!lich dazu. dell nances more agreeable and pleasant, al-
Gebram:h dCf Dissonam.:en angcnehmer though it is al&O often used only with
und lieblicher zu mathen; wiewohl sic consonances. It is furthermore also called
auch sehT oft nUT bey den Consonanzcn a graceful shifting of the beat.
gebrauchct "ird. Sonst oennet man sic
auch cine zierliche RUckung des lalit's.

S YNONY~UA: an altered or modified repetition of a musical idea .

Syncope consonans desolata ist: wenn The syl/COpe cOl/sonans occurs when
nUT cine Slimme, und zwar ohne disso- only one \'oice is shifted without incur.
nanz sich rocket. ring a dissonanc~. The sYl10llymia is first menlioned in Able 's Figllrenlehre. Hi s point of
departure is not a musical device but rather the rhetorical figures found
in the text which are to receive musical expression or consideration. The
composer is to observe not only the figures which can be transferred
from the literary to the musical mediwn but indeed all rhetorical figures
fOWld in the text. He is to apply the rhetorical Figurenlehre , constructing
literary figures in the text and then observing them in his setting when
appropriate. It is in this spirit that Ahle includes the synonym;a. Walther
Syncopeconsono-dissonans ist: wenn der The syncope cotlsono-dis;mnans occurs
efSIe Theil der Note, SO wieder den Tact when the first pan of the nOle ....-hich goes cites Ah le in his Pl'aecepta regarding the use of rhetorical figures. In hi s
gebel, consoniret. der zweyte Theil aber against the beat is consonant, its second di scussion of setting the text. Walther encourages the composer to
derselben dissoniret, worauf wieder eine pan, is dissonant, followed by another
"employ variolls rhetorica l figures in elaborating a text." However, in
Comonanz folgct. welche die synoopine consonance wh ich descends one step
Stimnle mit ordentlichen Absteigen fTom the syncopated note. This is of\wo listing and defming the musical-rhetorical figures to be used in a compo-
machet. Diese ist wiederum zweyerley: furms : /aclllaliter dissecta and realitrr sition, Walther does not mention synonymia. In his Lexicon Walther
Tactualiter dissecta Wld Realiler dissecta. di,J,Jec/a . In the first case, the syncopated includes all of Ahle's figures except for asyndeton,polysyndeton (a lack
lene behAlt die syncopine oder wieder note which stands against the beat re-
den Tact gehende Note gantz: diese aber mains intact. In the second case, the notc or excess of conjunct ions), and sy"ollymia. Preswnably these are omitted
uttheilet sie wegen de! TeXIS ....ilrcklich. is subdivided to accommodate the text. due to the dimeul !)' in expressing these rhetorical devices in the music.
Mattheson is the first author to lend sYl10llymia a musical interpreta-
tion. In his discussion o f the loci topici, specifically the IOClls 1I0Ia1;0Ili5,
Mattheson sugge sts that a composer might draw ideas for his illvel1rio
from the notes themselves: ''In like manner [to words and letters], yea,
even more sllccessfully and fittingly, the foonation and placement of the
notes as sounding letters lead us to innumerable alterations, of which
especially tbe following four procedures are to be singled out: (1)
Sch~ibe (Critj.Jcher Music/u p.698)
Ligatura und Syncopatio. oder Syncope. The ligolllra (s)'nCO(JQtio or syncope). the
through the duration of the notes; (2) through inversions or exchanges;
die Bindung, ist, wenn aus zwo NOlen lie. occurs when one note is constructed (3) Ihrough repetitions or answcrs; and (4) through canonic progres-
406 synonym/a .<morrymia 407

sia ns,,,1 Mattheson then equates various altered repetitions or the fugal Gollsched (RC'(/dll ' lSI p.278 )
splonymia Werm man etliche gteich .'1\. no"1"mio.
. When a number of words
repercussio. a modified or tonal answer to the fugal subject, with rhetori_ with the same mcaning are used.
vielht"isselllle Woner sctz:t.
cal c/ausulae synonymae. Just as it is possible to restate a certain linguis_
tic idea in an altered fonn, so too can a musical idea be modified. Thus Goltsched (J)rrirllwnsl p.326)
Zur XItcn kann dioe Verdoppclung (Synn. The next figure is the doubling (syno-
syno"ymia is more of a process than a specific device, incorporating n)"mia) of one and the same though t but
nymia) einer lind derselben Sache. die
nwnerous fonns of altered repetition and having a great deal in conunon aber mit gallT andc m Wonen gesc hieht. with entirely different words. An implU'
with the general imitatio. 2 gezogen "erdell. Einer. der im Affeele sioned person endeavo~ 10 influence and
stcht. bemilhl 5ith ~einell Lesem und Zu persuade his readen and listeners of his
Forkel is much more explicit in his description ofa musical synon},- thoughts. He will therefore also say the
hOrem die Sac-hen Iet:ht einzupriigcn \I ud
mia. Like Mattheson, he does not discuss the device in the context of the einzulridrl ~ nt. Dnhcr sagl er Ihnen all~h sanle thing a number oftimes but always
musical-rhetorical figures. Unlike Mattheson, however, he deals with wohl einerley Ding etlichemal. nur with different expressions.
"synonymous expressions" in his discussion af the musical dispositio immer mit andern Ausdrikkungen.

rather than inventio. Forkel applies the concept oftbe musical-rhetorical Ahle (Smmllel",CI.'Wl"tlche p.17 )
figures to larger portions of a composition, resulting in an understanding Setzet el werlCf : singe! liilullet und 10- Were he further 10 set: sing, glorify, and
bet: oder: jauch7ct . singel riihmet und praise: or rejoice, sing, glorify, and
of these devices as methods for structuring the composition rather than
lobet: so iSI es eine Splonymia. praise, il would be a synonym /a.
only elaborating its parts. Synonymous expressions can be used to
execute subdivisions (Zergliederungen) of a principal theme. In his Walther (/'rm!"epla p. 158)
Es mag Twar wohl ein Compcnist in ela- A composer can also well employ differ
example of a synonymous expression, Forkel restates a given passage ent metoti cal figures in elaborating a te)tl
borinlllg eines lexles un lerschiedl rheto
through a harmonic variant, similar to his example of"individualizations ri se he Fil!uren anww dw (\id: Joh (see Ahle's ft/us icalische SommerGt-
of general sentiments.") While the distributio is a method of subdividing Georg Ahlcn~ musical. SOlllmer Gespr1i- spriiche, pp.16 and 17). For example, the
or dissecting a principal theme, the synonymia or synonymous form of che pa r: 16 u. 17) Z.E. die Epilewdn. als epi=ell.lis. which is the most common and
di e gebrttuchlichsle llnd emphatj seh~t e: emphatic. the onaphora, synonymia, ana
expression is the method used to vary these dissected parts. die Anaphornm. S~110nyT1liam. An~dipl o diplosis, eplSlrophe, epa"alepsis, an so
si n, Epiwophen. Epannlepsin. ll. S.f. 0' .
Quintilian (Instill/lio IX.iii.4S)
Aliquando, sicut in geminatione ver- Occasionally, as was stated regarding th e Mattheson (C(lprflmeisler p.124f.)
borum dix;mus, initia quoque el c1ausu- repetition of words, the beginnings and Der drine Weg, darauf uns diese The third method suggested by this nola-
lae sententiarum aliis, sed non alio ten- endings of sentences correspond to each Notalions-QueHe der Erfind ung fUhrel. tional source Ilocl/s nlNatiQllis j of im'en-
dentibus verbis inter se consonant. ... other through various words with th e begreiftl die \V i(."derho lungen . mit ihrem tio encompasses th e repetitions, known
Hoc alii OU\'wvt)ll(av, alii disilmClionem same meaning.... This some call syno- Kun st-Worte dausu lae synon)"mae ge- hy lhe art wo rd dal/s llioe S)'1lcJf1ymae or
vocant, utrumque, etiamsi est diversum, nym/a and others disiunc/lo. And al- nanlll. oder WRS man sonst in fugincn what is otherwise called /viedersch/og
recte; nam est nominwn idem significan- though the tenns are different, they are Sachen den Wledcrschlag nenn cl. d i (repercussion) in fugal pieces, that is,
tium separatio. both oonect, for the .fynQllymia signifies wenn leh einen gewissen SalT in andre when a certain passage is lTansferred to
differenl words with the same meaning. Hohe odel Ticfe \ ersetzc. higher or lower placements.

Forkel (Gefc/uc/lle der ,I/u.fik p SI)

Die Zergliedenmgen eines I!auptsatzes The subdivisions Idis/ribllfioj ofa princi-
1. "Eben also ... flihlen uns aueh die Gestall und Stelle der Nolen, als Kl ang- dienen daw. ihn von allen seinen \ er- pal theme serve 10 examine the musical
Buchstaben, zu schier unzehligen Verllnderungen, bey we\Chen man sich insonderheit schiedcnen Sejlen und Gesichtspunklen material from all sides. . .. A com-
diese vier Wege belieben IlIlh: I ) dUTCh die Geltung der Noten; 2) durch die Verkehr- zu zeigen.. . Die Absicht eines Ton- position's inlen tion can be to express ei-
oder Verwechsel ung; 3) durch die Wiedemolung oder den Wiederschlag; und 4) durch stUcks kann se~11 : eine individuelle. oder ther All individual or a general sentiment.
die canonischen Glinge." Captllm~isl~r, 124. eine allgemeine Em plindung zu schi!- In both cases the relationsh ips and cir-
2. See Mimesis. dem o In beyden Fallen si nd der RC7ic- cumstances are so diverse that the senti-
3. See Dislribulio. hlulgen und Verhalmisse so viele. d a~ die ments cannot be sufficientl y clarified
408 SYllonymia timta 409

Empfindung OMC AuflOSlUlg in ihrc cin- without dissolvinglhcm into their sepa- TERTIA D EFICIENS: see CO,vSO,vANTIAE IMPROPRLf.E
zelne Theile: nichl dc:ullich genug werden rate pans. Such a dissolulioll employs
kann. Man bedim! sich ~u dic:sc:r Aufl6- devicn similar to li nguistic ones: for e:.;.
sung eben so wit in der Sprachc:. mehrer- ample:. in music we: also ha\'c S)'TI01l)-
TIMTA : a rapid scalar passage, spanning a fourth to an octave or more.
Icy Mittel; wir habet! z.B. 8uch in deT mous expressions. di verse fonns of re-
Musik synonymischc: AusdrUckc:. Urn - statemem. displacements, and so Oil . The (irata is a musical embellishment belonging to the category of
5chrc:ibungen verschic:dener Artc:n. Ver- Even an individualization of general sen-
setzwJ.gen u.s.r. ja sogar cine Individual i- timents can be musically expressed. Al-
Manieren (Manheson) orfigurae simplices (Spiess). Printz and Walther
sirung allgemeiner Empfindungen 111Pt though synonymous expressions are of differenliate between four variants of the omament: a tirala mezzo
sich in den musikalischen AusdrUckc:n the same general meaning, they can each consists of only a short nm, spanning no more Ihan a fourth; the lirata
denken. Synonymischc: Ausdrilcke sind only illustrate a sentiment from their par-
de!ecliva, pel!ecta. and auCla span at least a fifth, exactly an octave. and
zwar der Hauplbedeutung M eh tinertc:)': ticular perspeclive by expressing a small
klinnen aber doch cine Empfindlmg von incidental detail relating to the whole. more than an octave, respec tively, While Prinlz's examples indicate a
irgend eiDer andem Seilc: bios dadurch The following two bars: rapid figure. Walther allows the tirata also to be constructed of slowly
zeigen, dallsic: einen kleinen Nc:bcnum- moving notes. He translates the Italian term with Zug (a tug, stroke) or
stand damn ausdrilcken. Foigende ZWty
Takte:: Strich (a dash, line), mentioning in his defmition that the figure can also
refer especially to a rapid succession of notes. Mattheson sarcastically
refutes Brossard's and his disciples' interpretation (clearly implying
Walther, who frequently cites Brossard) of the tirata as a "leisurely"
progressi on. insisting that the device consists of a "tirade" of notes,
"vigorously bolting upwards or downwards" like a spear throw or bow-
sind der Hauptbedeu!ung nach v61lig are oomplettiy identical in their general shot.
einerley: demohngeacht~ modificiren sie meaning. In spite of that they modity the Although Mattheson regards Manieren as ornamental embellish-
den Gedanken so, da~ das Ohr weit expression in such a manner that the ear ments which are added to the music by the perfonner. they can also be
geneigter ist. ihn fUr ei nen neuen als flir is far more inclined to consider it a new
den nemlichen Gedanken zu nehmen . Die expression rather than the sam e one.
used to lend the music a great deal more emphasis. Such an expressive
Umschreibung erweitert einen kun.:en Such a restatement expands a short pas- and affective lise of a Manier is illustrated in his discussion of the
Salz, sammelt seine meisten nllehslen sage. gathers its nlOSI significant features. accelliUS . A similar expressiveness is expected of the tirata. Like the
Merkmale auf, und suc hl ihn dadurch and thereby seeks to lend il greater clar-
deutlicher zu machen. So wilrde z.B. der ity. For example, the following progres-
accentus, the firma can also assume both a text-expressive and affective
{folgendeJ Satz dUTCh diese Umschrei- sion can be rewritten 10 give it the fol - role. particularly when employed in conjunction with a text which is
bung rolgende Gestalt bekommen: lowing form : related to the figure's name. In Handel 's oratorio Saul, Saul 's javelin
throw at David . occurring five bars into the second section of the aria A
serpent in my bosom warm 'd (Act I), is vividly portrayed in the music,
bringing the aria to an abrupt stop. Here the lirata is not a simple Mallier
improvised by the musician but rather becomes an affective expression
of hypotyposis.

Printz (PhryniS Mylilenaells p1.2. p.49)

Tirat3 meza ist eine Figur, so in vier The lirala meta is a figure consisting of
ordentlich auff- oder absteigenden ge- rour stepwise, rapidly ascending or de-
schwinden Noten bestehet. Sie ist ent- scending notes. It is either oosce"derU,
TENUTA : see RlBAl1VTA weder Adscendens. so ordentlich hinauff which runs upwards by step, or descfm-
410 lirata lirata 4 LL

lautre! I oder Descendens, so ordentlich dens, whi ch run s downwards by step. aus. Die 2.) TiTa\a defecti, a iiberscluritct plNely_ so thaI neither a note more or a
hinunler flIhret. lwar wiircklich das quint-intcrvallum: nOle less appears; and (4) the timta alicIa
erreichl'l aber die Octav nicht Die 3 ) or excedellS_ which exceeds the range of
Tirata perfecta errelchel die Octa\' \'011- an octave by a few nOl es.
I konu}len. so, dap keine Note mellr. weder
drUber !loch drunter vorkot11ll1t: und die
4.) Tirala aUCla odeT excedens iiber-
(Phryn is Mytilenaeus p1.2, p.64) schTeitel die Grentzen der Octa\' UIll ei-
Tirata ist I wenn etliche ordcntlich-auff- The tirato occurs when a number of simi. lIige Noten.
odeT ablauffende Figuren ordentlich in larly stepwise ascending or de scending
nechst-folgendcn Clavibus an einander running figures are linked together at Manheson (C(lpelfmeIIlel' p.117)
gehangen werden. Sic ist entweder De- their subsequent pitches. It can be either Nlll1 komlllcn wiT zur Tirata. welche bey We now co me 10 the tirata , which to a
fectiva, oder Perfecta, oder Aucta. DefIX- defec/ivo , perfecta, or ouc/(J. Defec/il'o itzigen leilcn auf gewisse Weise einen certa in degree fin ds stronger use nowa-
tiva ist I welche zwar die Quint fiber- refers to a lirato which exceeds a fi fth but starckem Gcbrauch hat, als die vorher- days lhan the previous figure [circulo
scllreitet / doch die Octav flicht erreichet. does not reach the octave. Perfecto refers gehende Manicr, und eigentlich einen mezzo]. it actua ll y means a shot or spear
Perfecta ist I weicht gerad in Octavam to a tirma which spans an octave exactly. Schup oder PfeilwurlT, nicht aber. wie throw, and not a strok e or line, as most
[aum. Aucla ist f welche die Ck:tav fiber- Allcto refers to a timlo which exceeds an die meisten Ausleger woll('n. einen lug comment ators insist, for the voice is not
schrcitet. octave. oder Strich bedeutet. weil die Stilnmc simply pulled through or lined in but
nichl blophin gezogen oder gestrichen forcefully bolts upward or downward,
wird. sondcm mit Macht hemuf oder her- re sultin g in a rapid spuning commonly
unter schiesset. lind ('in gar schnelles exceeding II fifth, and at times_albeit less
SchlelllTen. gemeiniglich in Pans Quint. rreq uentl y. even encompassing an octave.
auc h wol in die Octa,, doch sellener all- II is therefore impossible for me to assign
Walther (LeXicon) stelle!. Daher ich denn das gemachliche the name tim/a to such a leisurely scale
Tirata [ital.] Tirade [gal!.) bedeutet einen Tiroto or tirade means a stroke or line, Auf- un d Ni~derziehen der Sing-Leiter passage, ascending or descending only in
lug oder Strich, und iiberhaupt eine and especially a row of numerous notes (Scalae) in lauter halben Schlagen mit half nOles, as Brossard and some of his
Reihe vieler Noten von einerley Geltung, of the same duration which either ascend diesem Tiraten-Nahmen I.Ulmoglich bele- disciples (without naming him) do. For it
di e so wahl auf- als absteigend einander or descend by step. gen kan, wie Brossard, IUld einige seiner contains no spurting or runn ing, neither
gradatim folgen. JUnger th Ull, ohlle ihn lU nennen: indem stroke nor line, much less something
dabey weder sch1culTcn noch lauffcn. which resembles a spear throw_bowshot,
weder lug noch Strich. de lwen iger ct- or the [ike, but rath er appears to be a
was. das einem SpicP-Schup. Pfeil -\Vu rff most ordin ary and plodding progression.
odeT deTgleichcli ahnlich ware, sondem Now follow examples of real lirafe, inter-
ein gantl spamschef Gang, Fu~ \'or Fup. mi ngled by chance with a cirellio me:zo.
Zll erblicken ist. Nun folgell M uster von
Die mit dem A beloeichnete An heisset: Example A is called /irolo di semi- rechlen Tiraten: wobey sich YOII ungefehr
Tirata di Semiminime: und die mit dem minime, the other tirala di legalure. Spe- auch ein Halbcirckelmeldet.
B. Tirata di legalure; insonderheit aber: cifically, however, the figure consists of

~ -~ -:-t!!H
wenn nUIbesagte Reihe Noten aus vielen a row of eighth or sixteenth notes, almost
Achtel n odeT Sechzehntheilen bestehet,
vor welchen fast all ezeit eine Sechzehn-
theil-Paus e hergehet, und auf welche
always preceded by a sixteenth rest and
followed by a note of longer duration.
There are four kinds of tirota: ( 1) the
t r oJ! jlfbP JJI 132 I
ordinairement eine grossere Note folget . firata mezzo or mezzo tiro/a, consisting
Man theHet sie in vier Sorten, die 1.) Ti- at most of three or fOUI sixteenth notes Spiess (7i"(lC/(lfUI p. 156)
rata meua, oder mezza Tirata, bestehet which span a fourth or fifth, including the Tirala, bedeutet llberhaupt eine Reihe Tirata specifically signifi es a row ofnu-
aufs hBchste aus drey oder vier zwey- following note; (2 ) the liroto defee/iva, vie[er NOlen \on einerley Geltung. dic merous lJotes oflhe sanle duralion wh ich
geschwlintzten Noten, und machet dem- whi ch in fact actually exceeds the fifth sowohl auf- als abstcigcnd einallder either ascend or descend by step, See
naeh mit der drau f folgenden Note ent- but does not reach an octave; (3) the lira- gradatim fo[gen, Walther \'. Tirata. Die Walther. J'il'Ulo. The notes can be free or
weder ein quart - oder qu int-intervallum 10 perfecta, which fulfills the octave rom- NOlen konnen frey oder gebunden seyn. tied. Moreover, a tirata is perf ella if it
 Ironsilus 413
412 tmesis

Ubringens ist Tirata perfetta, so die Dc- spans an octave and me==a if it spans a susenbrOlU5 (EpJlOmf! p.35)
Tmesis T )lTjOl<; D ia wpe 6 ICo:::o;ni eSI The Imtsis or diacopt signifies the divi
tavam: Mezza, so sit nur die Quintam fifth.
un ius dictionis composi t(le di \'isio. una sion of a compound word through the
erreichet.
dictione plu tibue in!critells. Latino Sec- inleljection of one or more other words.
tio. siye [nlercisio. Mancinell us: Oal It is called sectio or itllercisio (a cuning)
Tmesim pa rtes in bi nas dic ti o seCla. in Latin. According to Mancinellus. fme
sis is a word divided inlo two pans.
II
Vogt (COllt'lOW p.7) .
Tmema ve l Tmesis. seelio syncopatlclI. Tmtma or Tmesis . the division of a
syncopalio wilh a shon rest (suspiria).
suspiria.
TtvtESIS: a sudden interruption or fragmentation of the melody through
( Con c/Cloe p .152)
rests. Tme5is sectlo. Fit sparsim per periodos. The Imesis or secrio (a cutting) consists
of a spiinlered passage, as in the follow-
ut hoc modo:
ing example:
Both the musical and the rhetorical rme.~is signify a fragmentation,
reflecting the literal meaning of the word as a cut or inc ision. While
intervening words interrupt a compound word through the rhetorical
pi ro ad Ie.
figure, inserted pauses interrupt a note through the musical figure. The
interruption of the word suspiro (I sigh) in the musical example provided

by Vogt and Spiess results in a simultaneous musical and rhetorical
tmesis: both the word (albeit not a compound one) And the melody are
Spiess ( Tracfaflls p.156)
interrupted through rests. In Vogt's first definition. found in his introduc- Tmesis. Sectio. Absclmitt. geschichl. wi e The 1mrsif, seClio. cutting, occurs when
tory glossary, the figure is de sc ribed AS a suspension interrupted b) und wann es der Text oder Affect erfor ever and wherever the text or the affec-
den. v.g. in dem Wort Suspiro: tion demands, as in the exampte 10 the
suspiria. As Kircher explains in his definition of sllspiratio, eighth and
word Sllspiro (sigh).
sixteenth rests are also called s/lspiria because they are used to express
such sighing and groaning. In the musical example in his second defini-
tion of tmesis Vogt then illustrates how the suspensions in the vocal line
are "splintered" through interrupting rests or slIspiria.
The various musical figures of silence can be classified into two
categories: those signifying a breaking off or rupture of the musical line.
including abruptio, ellipsis, and tmesis, and those signi fying an ensuing
silence, including aposiopesis, homoioplolOII, homoiofeleuton. pal/sa. TRANSGRESSIO: see META BASIS
and suspiratio. Although the tmesis and silspiratio represent the two
contrasting categories of figures of silence, they are both applied 10 TRANSITUS. CELERlTAS. COMMlSSURA. DEMINUTlO,
individual melodic lines rather than to thc entire musical texture . In SVMBLEivlA: a di ssonant or pa ssing note between twO consonant ones,
contrast, the abruptio and the aposiopesis, also representing the two on either the strong or the weak beat.
categories of silence figures, affect all the voices of a composition , {he
abruptiO indicating a breaking off in all the voices, And the aposiopesis Throughout the centuries. the passing note has been ~escribed .with a
signitying a general pause. variety oftenns, a number ofthcm having roots in claSSIcal rheton c. 1be
414 Irml5;IIIY tn:msillU 415

tenn trans itus has a long tradition in music and rhetoric, going back to in reference not onl) to the passing dissonance between an imperfect and
antiquity in both disciplines,l In rhetoric transitus as well as transifio are perfect consonance but between any intervals. Bernhard. who was
used in reference to a transition from one part o flhe oration to another. significalllly influenced by Scacchi, particularly regarding the question
In accordance with the general rhetorical thrust of hi s writings, Mat. of musical styles. then introduces the term into hi s own Figurenlehren.
theson adopts this rhetorical understanding as one afme musical defmi. Wilh that. tral1Sil/tS replaces celeritas and commissura, two tenus for the
lio ns of trans itus, corresponding to Susenbrotus's lrans ilio or meta. passing dissonance which had become established tenninology in Ger-
ba.ris. 1 Although Mattheson generally uses the related (enn transitus in man circles si nce the s ixteenth century.
its common musical understanding (a passing note). in his discussion of The tenn eeler (eeleritas) is introduced through Gaffurius's descrip-
the musical disposilio the tenn transitus is used to indicate "a trans ition, tion of the brevi[)' of the transitus. In similar language Gallus Dressler
through which the foregoing is connected to the following,,,l Here he describes the quickly passing di ssonance, us ing, however, only the term
refers to a specific bass note immediately repeated an octave hi gher eeleritas. ' Although eeleritas becomes widely adopted-it is used by
following a cadential note marked with a fermata and fomUng an upbeat Calvisius and Lippius- Burmei ster and Nucius do not choose to use it.
to the following phrase. The repeated note thereby "recalls" what has just Rather it is TIlUringus who is the first to include the tenn in a Figuren-
been uttered while at the same time introducing the subsequent thought, lehre. citing it in addition to Burmei ster"s tenus, commissura and sym-
an exact parallel to the rhetorical metabasis or transitio. As a translation blema. Kircher, who likewise mentions all three tenns, and Thuringus
of the term metabole, transitus can also refer to a change in poetic meter. favor Burmeister's terlll commissura in their description of the figure.
The term is also used adverbially: per transitum (in passing). signifying Besides it s lise by Cruger and Herbst,l celeritas is mentioned once again
a brief or quick reference. In describing Greek music theory, transitus in Walther's Lexic01l, w here he simply refers to the term "commissura."
is used to define changes in the tetrachord, tonus, or ethos. Medieval With Bernhard. the tenn transitus replaces all other Latin and Greek
mus ic theory adapted the term to refer to the change from the plagal to tenninology . itself to he eventually replaced by vernacular expressions.
its authentic mode. Transitus is also used in reference to unusual melodic Bunneister selects commissura. along wi th its Greek translation.
progressions, particularly the dissonances leading from an imperfect to symblema, to define the passing dissonance. Like transitus, the term
a perfect consonance, espedaUy the sixth to the octave. This use of the commissura appears in classical sources. where it is used not as a figure
term is particularly significant with Gaffurius, who uses the compound but rather s imply to describe the unpleasant collision of ending and
term celer transitus to describe such a transitory dissonance. At thi s beginning consonants o f subsequent words. l TIle word commissura is
point, the terminology for the passing dissonance begins to pro liferate. then used by Froschius (153 5) in hi s description o f a dissonance which
The term tran.silIIs is used in Italy (in addition to cattiva) throughout the connects two consonances. Together with its Greek translation, symble-
sixteenth century. In the following century, Marco Scacchi uses the term rna, com miss lira is then instituted as a musical term by Burmeister.

1. P. Catm. "Transilus," Handwonerbuch der mllSikalischen Terminofogie. This I. "Qui bus ralionibus admittuntut? Duabus rallon ibus: videlicet syncopatione et
detailed and helpful study, which provides much of the above background. traces the celeritate"(PraecefJla mllS I ~'ae poetical'.. Magdeburg. 1563). Ibid .. 6.
history of IrQ/lsiluS as well as the terms celeritm and commissuro. 2. "Was iSI Celeritas. oder Geschwindigkeit: Hiebevor ist meldWlg geschehen I dap
2. See Metabasis. die dissonantiae, drunil sie nkhl also hart gehtlret I auffzweyertey wiep konnen verdeckl
3. " Da ist ein Transitus oder Uibergang, Kraffi dessen das vorige mit dem und verdusche-I werden I als erstlich dutch die Syncopation . . .. Damach dutch
folgenden an einander geruget. und von jenem zu diesem heriiber getreten wird." Celeritatcm Imd Geschwindigkeit I das ist: Wann viel kteinere Nolen I gegen einer
COJH!lImeister.238. grossem ill einelll Tact Illensurirt und gesungen werden I und gradatim, Staffet weip
4. "Quae vero per sincopam et ipso rursus celeri transitu latet discordantia admit geschwind durchlauffcn ." Herbst. Mllsica poetica. 27.
dtur in contrapuncto." Practica mluicae (Milan. 14%): cited in Cahn, ''Transitus,'' 5. 3. QuintiJian. IX .iv.37.
416 Iram;;rus transitus 417

Unlike transitus, which refers to the "passing" nature of the dissonance tal devices of contrapwnal composition.
(from transire. to pass over), or ce/eritas. which emphasizes the brevitv Bernhard also lists the figure as a basic contrapuntal device or
of the dissonance (ceJeritas. swiftness). the tenns symblema or COl1;_ omament: the trallsitus is one oflhefiguraefimdamenlales used in the
miss lira fOCllS on the binding or connecting function of the interjected Sty/liS gravis. \Vhile his transitus corresponds to the commissura eadem.
dissonance (commissura, connection, joint, knot). Not only does the he defmes the quasi-transitus in his Tractaflls parallel to the commissura
commissura link consonances with dissonances, but it presents a passage directa. with the dissonance falling on the beat. In the same treatise he
which simultaneously consists of consonances and dissonances. In each li sts the transitus inversus as a figure used in the modem stylus theat-
ofBunneister's definitions, not one but two voices are to feature paral lel ralis. Although it is also lUlderstood as a dissonance on the beat, it can
passing notes, consonant to each other but dissonant to the sustained be approached by leap instead of only by step, and normally has the
accompanying notes. Because the commissura thereby affects the entire dissonance extended through the multiplicatio, thereby becoming a more
structure of the composition, Burmeister includes it among the figurae expressive and "modem" figure . In his Bericht, Bernhard uses the tenus
harmoniae. Burmeister clearly prefers symblema to commissura. on transitus reglllaris (unaccented dissonance) and irregularis (accented
account of the implied association with classical Greek rhetoric. The dissonance) to describe the passing note. The tenn quasi-transitus is here
choice of these terms over transitus or celeritas also points to Bur- used to describe the earlier transitus inversus. Thus the quasi-transitus
meister's wish to establish the ornamental use of dissonance in his is now included in thejigurae sllperjiciales .
Figurenlehre. Dissonance is not simply to be endured or excused but is Bernhard' s discussion of the figures is marked by a concern to link
to be included to avoid boredom on the part of the listeners. t Bwmeister the expressive and dissonant musical devices to the established COIll-
only admits the passing dissonance on the lUlaccented beat. However. positional rules. Even the transitus is to be traced to its source, which
should the dissonance pass too quickly, as in the case of the symblema he does through the use ofthe term Deminution: through the "diminu-
minus (which occurs within a tactus), it will not affect the listener tion" of a consonance into two smaller entities, the original consonance
significantly and therefore cannot be considered afigura hamofliae. This and a neighboring dissonance, Bernhard establishes the "original" note
justification stands in direct contrast to the idea of the celeritas, explain- and underscores the "passing" nature of the dissonance. His intention to
ing why Burmeister could not accept that tenn. Nucius adopts the lenn establish the "root" of a figure is not only revealed in his Deminlltion
commissura without mentioning its Greek equivalent. Instead of differ- explanation but is particularly significant in his explanation of nwnerous
entiating between a longer and shorter sounding dissonance, Nucius other figures which are derived from or associated with the transiflls,
distinguishes between dissonances either on or following an accented namely superjec/io, a1llicipatio, variatio, nlllltiplicatio, prolongatio.
beat: commissura directa and cadens. Thuringus and Kircher make the ellipSiS, and heterolepsis. The explanation of these figures frequently
same distinctions, but list commissura, symblema, and celeritas as includes their musical examples, along with an unomamented example
equivalent terms. Thuringus. Kircher. and Walther (Praecepta) explicitly with traditional passing notes and the remark: " It should be thus."
contradict Burmeister' s limitation of the passing dissonance to notes of The passing dissonance is regarded as one of the three principales
longer duration, stating that "all notes of short duration are permissible orfimdamentaies figures (in addition tofitga and syncopatio) throughout
as commissurae," but that the semibrevis is not allowed "because its the seventeenth century, being considered one of the basic devices used
duration is too long." Like Nucius, Thuringus and Kircher also list the to embellish or figurate a composition. With the increased emphasis on
commissura as one ofthefigurae priflcipales, the principal or hmdamen- affection and text expression in the following century, these figures lose
their preeminent omatus position to the more expressive movere-ori-
ented musi cal-rhetorical figures. Thus the (rallsitl/s is mentioned only
I. Ruhnke, Bllrmeister, 134ff. in (ransilll by Scheibe, who defines the device in a footnote at the close
 Ir,msitus 419
418 'rami/us

ces st: in s~nt a,( habt:nl. III Concord:lI1- w nances bUI rathe r only to a certain ex-
or his extensive Figurenlehre. He reminds the reader that the trans itUs , tem. Among themselves the \'oiccs arc
t iae absolutac. sed qUBcdalll talilum
together with the suspension and fugue , belong much more to the "gen. Quae illler 5e con cordes sum. hlle aut consonant. eit her progressing in parall el
eral and elementary rul es of composition" and not to an expressive OlO\'l'11!\lr. & quidcm mon) pari: aut prOf' moti on. or hold ing through th e entire
SUS ad aliquot I ~C!US persislUllt.. . ld beat. ... This is called a symble/lla ma
Figurenlehre. jus. A !i\'m hiem(l m;lIus occurs when thi s
ll1aj us S~'11bl en La di~ilUr : Minus est qU(Ul-
do lalis commissura fit sub dilllidi o tac- combination [com missura] appears wi th
Burmeisler (H>pomnematum ) IUS. quod quin non illl aftlel!' pro Flgurn in the middle o r the beat. It is no( consid
Symblema sive Commissura est quando The symblema or commissura OCCUr! & Omamento non rcpmalli r. Excmp\lIIn en:d amon g Ihefigllra o r or"amcmta be-
alicui parti lactus majori adjiciuntur m i- when llOIes of smaller duntion are added cause it does not affect [the listener) in
hoC esto.
nores, quae iUi in valore respondenl, ita, to notes of longer duration in a certain the same m ann er.
ut pri ma iIIarum ooncon Sil, secunda part of the laClus,which appear in such
di scors &. sic reliquae colisequenier pe r fashion that their first part fonns a conso-
vices. quo manifesta deprehendatur per nance, their second a dissonance, with
mixtio sive oommissura consonanlium &. the following notes alternating back to a
dissonanliwn sonorum, per proxima Ioca, consonance. The permixtio or com
lit s unt semitonium, &. lonum, &c. 5e missura is clearly perceived through th is
5ubsequentium, nihil hannon iae derG- alternation of neighboring consonant and
gans. dissonant semitones and whole tones,
without detracting from the harmonia. Nucius (.1/If~I('es ['oelime p.F4')
Quid est Co ul111issura') COll1l11issur~1I1 What is a commissura? Musicians defin e
Burmeister (Musica AlitaschedillS/ilce) \I(Kant Musici. cum dissonantia aliqua commissura as a certain dissonance
Symblema I:UJlBAfUHl esc concordan The symblema is a combination (cam. propter praecedemc11l & sequentcm con which is excused because of a preceding
tiarum &. dissonanliarum commissura missura) of consonances and dissonances sonan ti am cxcusatur. Est que duplex: and following consonance. It is of two
quae sic se habet: Principio vel pane pri. as follows: it is mOSI common in the be- Directa & Cadens. kinds: direc/u and cade"s.
ori lacIUS minoris (ut qllidam vocanl) hoc ginning or prio r pan of a weak beat (as
est ejus mensurae, quae omnium esl some call il) and consists oflWo parallel Quid es t C011lmi~sura Directa? Quando What is a commissura directa? When the
IIsitatissima, &. quae ex duabu$ aequa- descending or ascending parts of equal cum depressionc tactus dissonantia. ~ u ear percei ve s a dissonance on the dowll-
lib us partibus depressione scil . &. eleva- durati on. The consonances in all voices fiUlll qn idc111 ~ensu pcrcepta. propter se beat that is noneth eless admitted o n ae-
lione constal, quarum altera prae al tera of the composi tion behave like absolute qucn tem COllco rdan tia m. lamen admit COlmt ofthe foll owing consonancc, ....ilich
plus temporis non rcquirit. concordantiae consonances. H owever, at the end or the li lm. qllaliler in ol1U1 i bu~ formalibus usua lly occurs in all fannal cadences and
omnes se habent in omnibus vocibus last paI1 of the beat, all voices do not be-- c\ausulis & syncopationibus fieri solet in S) rlcopllliones.
harmoniae, lit absolutae concordantiae; have according 10 the syntax of absolute
.
fioe veto vel parte posterio ri no n omnes
voces se in syntaxi habertt ut conCOT-
dantiae absolutae. sed quaedam tantum.
co nsonances but rath er only to a certain
extent. Among themselves the voices are
consonanl, either those progressing in
-" p-- r " t; j j <> IJ I 0 Ii
Quae inter se conoordes sunt harum alter-
ae mo ven tur &. quidem motu pari, reli-
parallel motion, o r the other remaining
voices which hold through the beat.
0 'e II <>
" 0 (I

quae prorsus ad aliquot lactus persiSIWlt. ,

- II
BUnneiSle r (MUJica Poetica p.60) Quid est C01ll1lliUllra Cadens? Cum prior What is a commissura , aliens? When the
Symblema aUl'6A lllta est C oncor- Thesymbfema is a combination of conso- par s tllctllS consona est. posterior \ ero first part orthe f(lCIUS is consonanl and
dantiarum &. Dissonantiarum oom nances and dissonances occurri ng as fol di ss()nat. qui p05itus propler seqlJentcm th e Illst pa rt is di ssonant. which is none-
missura. quae hac ratione fil : Omnes lows: all the consonances behave like con sonantiam ta men ad miui tur. ac lon theless admitted on accOlUlt of the follow
Conco rdant iae se habenl in omnibus absol ute consonances in all the voices of lingit plnerunque in gradationibus. I!lIjllS ing COl1S0JllUl ce. 11 is often used in a gra-
Harmoniae vocibus lit absolutae Con cor- the composition in th e beginning or first d (l/io. These kinds of cammiu ura occur
generis Commissurae extra Olllllem clau
dantiae. idque in Princip io. vel parte pri- ha lf of the beat. However, in the end or sulanull & syncopalionis ralionem coo particularly in all caden ces and s),"co-
ori tactus dimidia. In fine vero vel parte last part of the beat. no( all voices behave lingull t. & fugis saepe sunt lIplissimac pal IOlleJ. and lire especially appropriate
tactus dimidia posteriori non o mn cs va- according to the syntax of absolute con in jrlgae.
420 /,'muitus lronsillis 421

duplex. directa. & cadens: lila est quando too long. The commissura is of two
.d thesin mensura e. sive dep ressionem kinds. directa and code/IS. Directa occurs
actuS dissonBllli a auriu m qnod am sensu when the ear perceives a di~onaJlce on
percepta. propter .s~qu entern tBmen the do"Tlbellt that is nonetheless admined
concordantiam adl1l!ll1tur, ham: reeen on account of the following consonance.
tlores aplo vocabulo Resolutionem vo- Recent th eorists fini ngly call this a
cant: quod vi delicel. nOla bre vis. aut resolulio. which il clearly is. as a brel'is
semibrevis in minimas partic ulas. lam or semibreris is dissoved in to smaller
Thuringus (Op/l5cu/um p.98) consonas. quam di ssonas resol\" utur. dissonant and consonant minimae. This
Conunissura. quae & symblema \lei cele- lhe co",missllra. also called sp"blemu or cuius in praecedent i tractatu de conlra- was very clearl y and frequently men-
rilas di cilur, esl, quando notulae etiamsi ccleri/as, ()C{:urs when dissonant nOles punclo amplissimll, & perfrequens fa cta tioned in the preceding chapter on COUll-
dissonae, harmonium lamen absq ue are anfllll), integrated into the composi. est mcntio. Cadens commissura est cu m lerpoint. The callens commissura occurs
offensione lIuTium artificiose ingTe- tion with out, however. offending th e ears. prior pars lactus COJ1 sona est. posterior when the fi rst part of the locWs is conso.
dilUltur. Vel. est cum di ssonalltia in mini- or when dissonances arc inserted illlo the dissona. hoc est. qua e fit in elevatione nant and the second part is disson8llt. that
mis conlrapWIClO insentur. & conulli nitur counterpoint on an upbeat through mIll/_ non in depressione laclUS. qui pos ilu ~ is. when it occurs in an upbeat and not in
in elevalione lactus. In commissura mae. All notes of short duration ale per- propter seq uenlcm & sic di ssonam ia a downbeat. A dissonance placed in such
admillUlllur OIlUlCS minoTes notulae. UI missible as COlllmusllrae. including nllm consonanliam bona redditur, & ron tingit. fashion is resto~ 10 health through a
SWlI: minimae. semiminimae. rusae. mae. scmimillimae./llsae, and Semifll.Hle plerumque in grandioribus not is aseen- followi ng consonance. It is frequentl y
semifusae: $emibrevis aulem non admit- The scmibl'el'is. however. is not pennissi den do. & descendendo. UI in sequent i applied to ascending and descend ing
titur, quia juslo tardior est. ble because its dural ion is too long. paradigmato appllret. notes orlonger duration, as the following
example illustrates:
Quoluplex eSI Commissura? Duplex: How many fomlS of commiss ura are
Oirecta Cadens. Directa est: Quando cum there? Two: direcla and cae/ttl/S. IJII'e,'W
depressione laCI US dissonalllia, aunum occ urs when the ear perceives a di sso-
::;;:
~
quidem sensu percepta. propter seq uen- nance on th e dO"llbeat th at is nonet he-
tem conC(lrdaniiam. lamen admil1 ilur, less admitted on account oflhe followi ng
ii'
qwditer in omnibus formalibus clausulis consonance. whi ch usually occurs in all
& syncopali ollihus fieri solei. Quae eSI fonnal cadences and in sYllcopalitmf!,'; .

~ ~
COllUllissura cadens? Cum prior pars tac- What is a commissura code/IS? When the I
tUS consona eSI, posterior vero di ssonat. fi rst part of the laCIUS is conson ant and
hoc eSI. quae fiat in elevatione non in the last part is dissonant. thaI is. when it
o
~
deprehensione lactUS: qui pesitlls propler (X;curs in an upbeat rather than a down
sequcntem ConsonallIiam tamen adm it- beat. whi ch is nonetheless admined on
tilur. ac conlingil plerumque in grada- account of the following consonance. It
tionibus ascendendo vel descendendo. is often used in all ascending or de scend-
ing gl'admio. &

~
& -
~ ;;.::;;:
Kircher (Mu.SIIrgia L.5 , p .]66) I
Conunissura , quae & aup.6A'lp.. ve l The COtflnl iSSl jffl. also calledS)7l1blema or
celeritas dicitor, est quando notulae celerilas. occu rs when dissonant notes
etiamsi dissonae, hannoniam ta men abs- are anfu ll y illlegrated inlo the composi-
que aunum offensione artifi ciose ingre- tion witholli. however, offending the ears.
wwttur, vel est cum disSOflanliae in mini- or it occurs when dissonan ces are in,
mis ContrapunClo. & in elevatione taClus curred in An upbeat in the counterpoint
commillun!ur. Admittuntur autem in through minimae. All notes ofshon dura-
commissura ollUles minores notulae, uti tion are pennissible as commissurae. in-
SWlI minimae, semi minimae, fmae. semi- cl uding minimae, semiminimae. filSoe,
fusae: Semibrevis autem non adm in ilUr, and semifi~fae. The semibrelis. however.
quia tardior est. Est aUlem commissu ra is not pennissible because its duration is
 (ransi(IlS 423
422 transitus

Note den Regeln des \'ongcn TraJlslrus 1U nant note is placed on an odd (strong)
wieder loco imp:lri SlehN als beat. con trary to the rules of the preced-
ing trollsilllS. as follows:

.. J21
-::T I....:.
9 o

-;-:~~=~b~r~~o~~
(TraCfalllS p.861
Transitus inversus isl. lI'enn d~s erste The tral/situs im'enus occurs when the
Theil cines Tacles im T r~nsi tu bOse. das first pan of a ((Ictus with a transitus is
andere gu t iSI Welcher darum in St) 10 dissonant and the second is consonant.
recilatho zugclallen. weil dar ilmen kem which is allowed in !he sly/us rtcitalivus
Bernhard ( True/a/us p.64) Tact lI.ebraueht wird. und also uiehl because !he beat is not used there. and
Transitus welchen man auch Deminution The IransilUf, which can also be called obser.iret "Ird. wtlches depen ersle oder therefore;t is not perceived which is the
hei~en kan, ist: wenn zwischen 2 Con- andere Helme 1St. Diese Figur wird first or the second half of the laC/liS. Fur
Demintllion, occurs when a dissonan t
sonirenden NOlen, so aile beyde numero gleichwohl niemals ohne die Multipl ica- thermore. this figure is never encountered
note on an even-numbered (weak) beat
imparl das SUbjectum einsehen, cine dis- tion angetroffen. without the nlll/lipJicalio.
slips by, as it were, on a higher or lower
sonirende Note numero pari im nllchslen interval between two consonant notes of Itunde also rech!:
inlervailo oben oder oolen gleichsam the subject on odd-nwnbered (strong)
durchschleichel. Daher sallen aile Wl- beats. Hence all strong beals of the mea-
gerade Theile des Tactes aus Conso- swe are to consist of consonances.... In
nanlzen bestehen .... In Trip\a roup die triple time the fim part should be conso- co- me ~ co-
Pur si rav- vi va e non so
enlt gut seyn, hemach kan die andere nant. after which the second or third (but
oder 3te /: nicht aile beyde :1 dissoniren, not both) can be dissonant. In rhythmi c II
doch kart in ROckungen die mIt Note in shifts the first part of a triple measwe can
Tripla auch dinoniren, und denn isl es also be dissonant. in which case it is
mthr Syncopalio als Transitus. Auff die more of a s)"ncopalio than transitus. The Bernhard (8tl";ch/ p 1.. 6)
Consonatllz soli die Dissonamz in dem dissonance is to follow the consonance al Transitus. \~elchell ieh sonst aueh Oemi- The 1/"O"S;IrIS. whieh I also call Denri-
nAchsten loltl'\llllo untttl oder oben seyn, the neighboring higher or lower pilch. mllion geheipen . ist. wenn zwischen 1IlItioll. occurs when a dissonant note is
Wld wiederum im nichslen Interva]lo followed by a consonance at the next zweyen gulen Noten eine fahche im sel between two consonant notes in the
cine Consonantl. haben. Die andere Stim- pilch. The voice which is set against the naeh sten !nl~ r\"a ll o ist. Und ist ZWl'Y- neighboring pitch. II is of two kinds:
erley. Rcgull1l is ve l Irregularis. Regel regll/(!/"is and il"regll/an"s. A transitus
me so dagegen isl. solliangsame Nolen tramitlfs should have slow notes of such
oder Unregelm~pig. Transitus regularis reglllari.f occurs when the note on the
haben also dl$ cine ConSOllantz WId Dis- duration that the consonance and disso-
sonantz doer Note solcher Stimme ... nan ce of the one voice equals one longer ist. wenn die ansch lage!1de Note con beat is consonant. Ihe other. how ever.
gleich gelle. note of such another voice. sonans. dil' andere aber Dissonans iSI dissonant. In this kind of transitlfs it is to
Bey dlcsem 1ronsitu i ~1 zu mercken I ) be observed ( I ) thai all uneven parts of

~
dap aile IIngefadl'!1 Theile des Taels aus the measure consist of consonan ces,
Pi- ~~ Consonanlien bestehe n sollen. denn das "..hich I call striking notes" (on the beat)
f: hei pe ieh die 1111sehlagenden NOlen .... . .. alld (2) that II consonance is to be fol-

.~ 2: 10' ' I'- . L , ,. 2) Dap !luff die COllsonans eine Dis lowed by a dissonance in the neighboring

~P-
~ ~. pitch. and th e dissonance again by a con-
sonans im n~chslcn Inter.'allo folge. und
E auf cine Uissonan~ abemutl cine Con
sonans 1m nliehSlen ln ter\"allo.
sonance in the neighboring pitch .

(Trocta/lls p.6S)
Quasi-Transitus ist, wenn eine falsche The quasi-transitus occurs when a disso-

424 'I'uns;rus trallsitus 425

gegen die andere Stimmc consooiret. und nail! against the other voice and the note
die in arsi ~tehende Note dissonirel. after the beat is dissonant. The fo ll owing
Observatio I ) Det Transi tus hat nur stan is to be observed: ( I ) the trallsitus is only
in notis minoribus; als minimis. semi- to occur with shorter notes, such as mini-
minimis. fusis und semifusis: nieh! aber mae. semiminimae.jusae, and semifiuae.
in majoribus. al s lI1axilllis. iongis. brevi- but not with longer notes such as maxi
bus lUld semibrcvibus: \~ eil diese in ihren mae, longcre, brt\"S, and semibl"eves, fo r
sedibus zu lange bleiben. und resolu- th ese remain too long in their place and
Transitus IlTegularis ist, wenn die The transilus irreglllul'is occurs when the l;one111 harl110nieam libel die Zeit auf- excessively delay the hannonic resolu-
ansehlagende Note falsch. die folgende nott 011 the beat is diuonant b ut the fol- hallen. 2) Die NOlen mnpen aHein grada- lion; (2) the notes must only ascend or
aber gut ist. Die Transitus Irregula res lowing 0111.' is consonalll. These Iransi;/j'f tim. nieh! aber saltuatim. auf oder nieder- descend by step and not by leap; (3) all
sol1en I) selten gebrnuchet werden. 2) die ir,.egllluI'es (I) should seldom be used; wans steigen . 3 ) Aile unt;erade lbeile uneven parts of the measure (which are
verklcinerten NOlen in Transitu iTTegulari (2) the sho" cned notes o f the /rullsilliS des Tacts (wekhts eben thesis iM) mUllen downbeats o r in lhesj!) must be conso-
sollm nur herunter. nic ht aber hin auff- irregllfaris should only descend and not aus Consonantitll bestehen. nant.
gellen. 3) Es sol1 cine k1eine falsche NOle ascmd; (3) a short dissonant note should TransilUs irregularis ist. wenn die in thesi The lrutlSilus irregularis OCCU~ when the
anschlagen. eine [gleiehe] andere aber, be on the beat, and a second note of equal befindl . Note d issoniret. und die in aTsi note on the beat is dissooant and the note
die Secunda ni edriger fallende, sie gUI duration should fall a second. resolving stehel consonirel. Obsen'8tio I) Die following the beal is consonant. The fol-
machen. the first note. dissonirende Nolen sollen nur henmler. lowing is to be observed: ( I ) the disso-
und nieht aufwarts gehen. (es geschehe nant notes sho uld on ly descend and not
denn niehl gar Zli olTt in geschwinden ascend, except if this happens not too
Sachen) 2) Unler vier kleinen gleich- frequently in faster pieces; (2) in figura-
geltenden Noten (denll in grollem gehet tions offour rapid notes of equal duration
es nichl an) ktlnnen die erslell beyden. (for this does not app ly to slower notes)
und die letzte consoniren. und nur die the first two and last notes can be conso-
drine dis!>Oniren. nant, only the thi rd note being dissonant.

(Berichl p.152) Walther ( Lexicon)

Quasitransitus ist, wenn \\ieder die Regul The qllasi-Irv.JnsilllS occurs when a disso- COllul1issura heisset : wenn zwischen zwo Commis:mro means th e placement of a
des Transitus, di e Dissonanz IInsehlllget. nance is placed 011 the beat , contrary 10 gegen cine Ober oder Unter-Stimme dissonant note in the neighboring pitch
U nd wird nur in Stylo Recitati vo zuge- the rule of\he IrO/lsiWs. II is only penn il- consonirendcll N Olen, cine dissonirende. between two notes which are consonant
laptn. weil daselbst keill Tact observiret te d in Ihe H)'IIiS I"ed/olil'lIs, because in und zwar im llechstel1 illlervallo, zu ste- against another uppe r or lower voice.
wird. AlP: that style the fIIt'IIIS is not observed. as: hen kOnlllll.
Commissura cadeos, oder. wie Goclenius A commis.wI"o cooens, or as Goclenius
hat, cedens. ist: welln die in thes; Slehend calls it, cede"!. occurs when the note on
Note consoni ret, ulld die in aT5i disso- the beat is consonant and the note after
niret. the heat is dis!>On ant.

Commissura directa is!: wtnn d ie in Ihesi A commissuI"o direclo occurs when the
stehende Note dissoniret. hingegtn die in no te o n th e beal is dissonant w hi le the
arsi consonirct. no te after the beat is consonant.
Wal ther (Praecep/o p . I'sO)
S)lllblema ou~6;"")la \'on ou~66:))'w\', S),mbfema, from s),mballon, a word
Transitus. sonsten auch Commissura ge- The /ransi/IIS. otherwise called calll-
welches Won unler andertl auch: com- meaning, Among olher th ings, to perpe-
nannt. iSI. wenn ei ne Stim me stille h!tlt, mismro. occu rs when one voice remain s
minere aliquos. i.e. sibi il1 vicem inimieos trate !>Omelhing, that is, to mutually incite
un d die andere sieh beweget dergestalt, stationary while the other moves in such
reddere. Feindschaffi ulIIer einander stiff- hostility or to cause enmity among one
dap regulariter zwischen zweyen wohl a m Anner that, as a rule. a dissonance is
len. bedeutct. Und in ebeu diesem Ver- sel\'e5. And in this panicular undentand-
klingendell NOlen eine dissoni rende 5ich placed between two consonant notes. Th e
slande wird dicse Figur auf lateiniseh ing the figure is trans lated w ith the Latin
befindet. Oer Transitu! ist z ..... eyerley. /l"Cmsitlls is of two kinds: reglllaris and
aueh COlJlmissura genennet. und von tenn comnri!!ul'o and refers to rhythmic
Regularis et IlTegu lari!. Transit us regu- il"I"egllluris. The t/"UIISil1lS reglllaris oc-
Riiekungen oder s)lIcopationibus, ilem shifts or S)"copa/ione3 and their passing
laris ist, .....enn die in thesi stehende Note curs when the note on the beat is coosa-
426 tramitus fremolo 427

von solchen durchgehenden Noten ge- notes, both of which incur dissonances. dem S!imme befindhchc Note zu stehen against one note in another voice. The
brauchet. die beyderseits dergleichm See Commissura. konulIcn. Ole cine NOie ist alsdann 31s note ....-h.ieh fornu the harmony is consid
dissoniemd darstel1en. conr. Com- die anschlagende. \"on der dic Zusaill' ered the striking (a'lsch/agendel note,
m15sura. Illenslilmllll1lg elll~te1u. anzusehen: die whi le the other is Ihe passing note. How.
andere Note hingegen iSI die dUl~h ever, as the harnlony is also frequently
Transitus ein Durchgang: weno nemllch The IrO'lsilllS is a passing nOle, occurring derived out of the passing note, the fol
gehende. Oa aber auch sehr oft von der
die in 8rsi stehende Nolen dissoniren. when the notes in an upbeat [weak beat) lowing. moreover, is to be mentioned.
durchgeh enden Note die l!amlOnie elll
are dissonant. When the accented or striking note pro-
spring!: so ist arliloch ZIt merken. dall
wenn die aceenluirte Note. als die all duces the harmony, it is known as a tran-
Mattheson (Copeflme;ster p.IIS) sims regl/foris. However, should the
schlagcnde. die Harmonie machet. sol
Durtbgang wird bey sehr vielen Lehrem The passing n()(e (Durchgang, transitu.s) lUlaccented Of passing note form the basis
ches Transilus regularis genennel .... ird.
fUr Passaggio genommen; oder wenig- is tmderstood by many teachers as a pas. of the hamlony. it is called a tra'lsitus
lSI aber die unaecentuirte, oder die durch
slens legert sie dIS Won Passaggio von saggia; at least they wish to derive th e inegt/faris. In this latter case, however,
gehencte Note der Grund der Harmonie:
einem Ourchgange gantz natUrlich aus. meaning or passaggio quite naturally the first note. even if it is accented. is
Transitus help! 8uch sons!. wenll ejoige from a p8S5ing note. Tran.sitllS also means
so heij)1 solches TmnsilUs irregularis. In
diesem lelztem Faile aber isl die erstere only to be considered as an accentus
in den Ober-Stirnmen vorkommende when a number of notes in the melody do
Nme. ob sie schon aeeentuirt isl. doch [Yorschfag] to the following note.
Kllinge mit dem Dasse njcht wol Ober- nm agree properly with the bass but
nur als ein Vorschlag der folgendell Note
einstimmen und dennoch mit durchlauf nonetheless proceed along. Our present
zu betrachtell.
fen. Bey unsTer vorhabenden Malefic iSI discussion [of embellishing Maniere'l)
der venneinte Durchgang gantz was an- regards the passing note as something
ders, und findet sich in den Grund-Noten completely different. It is round in the
der aufgeschriebenen ordenlHchen cin- principal notes of the notated regular
stimmigen Melodic, 81wo eT nur mit melody voice. where it is ornamented TRANS UMPTlO: see METALI'SIS
cinem schnellen Triller und ciner hur- with a rast trill and a rapid tum.
ligen Drehung gezieret wird. TREMOLO. TRILLO : (1) an instrumental or vocal trembling on one
nOle. resulling in a wavering pitc h or vibrato: (2) a rapid reiteration of
one notc; (3) a rapid alternation of two adjacent noles; a trill .

The confusion in tenninology regarding these two ornaments can be

(Capelfmeister p.238) traced back 10 inconsistent use of lhe tenns in early-seventeenth-century
Da ist ein Transitus oder Uibergang, There [-I is a IransitllS or transition, ltaly. TIle oscillating ornament is called tremolo by Ganassi, Dimla, and
Krafft dessen das vorige mit dem folgen. through which the previous material is
den an einander geruget. tmd von jenem connected with the following, progress
BO\'icclli :llId rrillo by Cavalieri. Frescobaldi. and Trabaci. Furthennore,
zu diesem herUber getreten wird. ing from the one to the other. Conforto. Caccini. and Monle\ erd i use trilla to signify a rapid reiteration
of one nOle. I Praetorius introduces the tremolo and trilla into Gennan
theoretical writings, defining the tremolo as the oscillating ornament, and
trilla bot h as a reiteration of a note, according to Caccini, and a trem-
bling. note which cannot be notated but must be learned through living
example. Thi s understanding of the tenns is then adopted by Herbst,
CrOger, BCnlhllrd. Printz, and other seventeenth-century theorists. Printz
V
differentiates between these two fomls of trilla. referring to the reiterated
Scheibe (Critischer Mu.sicll$ p.698)
Transitus, oder der Ourchgang ist. wenn The Iransitus or passing nme occurs
mehr als eine Note neben einander aur when two or more subsequent, neighbor-
oder absteigend gegen eine in einer an- ing. ascending or descending notes stand I . See Neuman n. Ornament(l(IQfI. 287ft'.. for a delailed discussion or the tenns
trenwlo and trilla.
 'remolo 429
428 tremolo

in Un isono. tnlwtder .uff einer Linien in unisono, either on Ihe same line or
and clearly articulated note as "'illo and to the vibratoJike unarticulated space. when numerous rapid nOles are
odeT jm Spatio; Wann viet geschwinde
reiteration as (rillello . In his Trifolium of 1691 , Sticrlein reverses the NOleJl nacheillander rq>etird werden. successively repeated.
common lenninoiogy. defming the IremlllllS as a "trembling on one n Ole"
(Beben in unisOIlo) and the 1,.;1/0 or trillella as either a long or short trill
on two di stinct notes.' This gradually becomes the accepted wldersland. rI
ing of the tenns in the eighteenth century, as reflected in the definitions ve- - - - nl.

ofVogt. Walther, and Mattheson. Both Walther and Mattheson compare The second form of triflo is fonned in
Iftr Ander Trillo iSI uff tU\tersehiedenen
the tremolo to the organ tremulant, a mechanical device which alters the AMen gerichtet. Und ob zwar einen Trillo diverse manners. And although it is im-
intensity of the wind pressure supplied to the organ pipes, causing a techt zu fomli ren. un mUglich ist auj}m possible to learn how to fonn such a Irillo
\'orgeschriebenen zu lcmen J C5 sey dann from written examples. except th at it oc-
gentle vibrato. In spite of the different use of tennino logy, there seems cur through live example by having ;1
, das es viva PraeceptOfis voce &. ope
to be general agreement on the structure of the oscill ating trill. TIle vast geseheh e ! und einelll vorgesungen und sung and illustrated th at one can learn it
majority of musical examples illustrate a trill which begins on the :nain vorgemacht werde ! darmit es dner vonl from another as do the birds . ... nonethe-
andem I gteieh wit ein Vogel vom an- less I have considered it necessary 10 in-
note. Not until the growing in nuence o f French omamentation in the
dem obscr\"jren Ierne . ... Jedoch hab ich clude a number of its forms, in order that
course of the early eighteenth century does the trill beginning on the the at this time yet uninformed lIudents
etlithe Arten al hier obiter mit bey zu-
upper note gain wider acceptance in German music, as indicated in sdzell noti g erachtet I damit die noeh lOr catch II glimpse and understanding of ap-
proximately what is referred to as a t!"illo.
Walther's Lexicolf. "The musical evidence will underline the basic main- zeit unwissende Tyrones, nur in etwas
swen Imd wis~en mogen was ohngefehr
note character of the Gennan trill during the who le period under consid-
ein Tri llo genc-nnel werde.
eration, with some q ualificat ions only for its last few years."z

Praetorius (Synlagma Mllsicum III p.23!! )

Tremolo, vel Tremulo: lsi ni chts anders A tremolo or Iremlllo is noth ing other
I alp ein Zittem dcr Stimme uber einer than a lrembling of the \'oicc ovcr a 1I01e.
NOlen : die Organisten nennen es Mor- which organists call mordants or nw-
II
II
danten oder Moderanten. Und dieses ist derall/s. lbis is more app rop riate in mu- II

mehr uffOrgeln Wid Inslnllllcnta pennata sic ....'linen for the organ and other instru-
gerichtel l alP. uff Menschen Slimmen. ments th lln for the human voi ce.
Printz (Ph,.~ lIis M) li/erlOellS p1.2, pAS)
The /remolo is a sharp trembling of the
~~~~~~~~~~~
Tremolo iSI ein scharffes Zillem der
Tremulus Asoendens. Slimme Uber einer griSssem Noten { so voice over a longer note which touches
die nechste Clavem mil beriihret. Er ist Ihe neighboring note. II is either short or
enlweder \'erkiinzt oder veriAngert I jener long, the former consisting of four rapid
Tremolettl. bestehet in vier geschwinden Noten ! die- notes. the laller of more notes. Both
ser in mehrelll. Beyde seyn entweder fonns arc either ascending or descending.
auffsleigend oder absleigend.

(Syntognlo Musicllnl J/I p.237) 1-

Trillo: lst zweyerley: Oer eine geschiehet The trillo is of two kinds. The first occurs

<Phf") illS .\ ~\ lilenoellS pl.2, p.63)

Schwehtnde einfadle Figuren st)ll nur There are only t ..... o simple ho\'ering fig-
zwo neh1lllich Trillo IDld Trilletto. Trillo ures. namely /,.;1/0 and l!"il/etw. A trillo
I . Ibid., 299.
ist tin Ziuenl der Stimme in einer Clave is a trembling of the voice on one pitch
2. Ibid .. 304.
430 tremolo 'remolo 431

Uber einer grOssem NOlen I als dap das over a longer noIe in which the Dotes are aufhord Tnl lcl10 1St das Diminutivum
Anschlagen zwar scharff sern I iedoch crisply articulated, yet in 1111 extraordinary , '011 Trillo. und bedcutel: daf} es kun ge-
mit sonderbarcT Manier gesche:hen solie: manner which cannot be properly ex- ma,ht \\ l'fdl'n soIL
Welches nich! r~ht beschrieben werden plained but must be illustrated with the
kan I sondem mit lebendiger Slimme live voice. A trifletlo however is only a Manheson (Caprllmeis/er p .114)
gewiesen werden mup. Trilletto aber ist trembling of the voice which is much Dl'r Tremolo oder d;lS Beben der Stimme The Iremolo or the trembling of a voice
nur cine BebWlg der Slimme I so viel gentler than a trillo IUld is hardly articu_ iSI wedl'f del so genan nte Mordant, wi e is neith er the so called mordant. as many
linder I als Trillo, und fflst gar nichl ange- lated. On stringed instruments this occurs ihrer viele meinen. noch irgend eine auf think. nor Any other kind of figure con-
sch lagen wird. Auf denen Sailen ge- with all often repeated depression of th e andre An ;lllS zween KI1ingen bestehcnde st ru cted out of two notes, as Printz sug
5chicht er mil einem offiwiederholeten finger yet without completely releasing Figur. nach Prillt7C11S irrigem Angeben gcsts with his erroneous definition and
Niederdrucken I Wid doch nicht glunz- the string which otherwise produces the und ungUltigem E:-;e mpel: sondem die invalid eKample. Rather it is a most gen
licher Aufflas5ung der Saile von eben note. In con trast, the trillo is produced allc rl.!elindesle SC hwebung auf einem ti e tremblinl! on one single note. best pro-
dem Finger I der sons! denselben Ton through an often repeated depression and ein tzil.!en fl'slgese tzten Ton. dahey mei- duced in my opinion by a movement of
verursacht: Herg~en wird Trillo verur complete release of the string hy the nes E;achlellS das Obetzllnglein des Hal- th e epiglouis through a very gentle tem
sacht I durch ein offi-wiederholetes ON- neighboring f,,"ger. Both of these figures ses (epiglollis) dlllch eine gar sanffie pering of the breath. On instruments the
eken Wid gAnttliches Auffiasscn der Saite are to be played on violins using a si ngle B e\\'egun~ od('r M:I/ligung des Athems. same effect is produced by a simple pivot
von dem nechslfolgenden Finger: Wel- stroke of the bow. das me i ~le Ihun IIIl1!i: so wie auf Instru- of Ihe fingcnips without changing loca-
ches beydes luff denen Geigen I unler menlen die blosse Lenckung der Finger- ti on. espially on lutes, violins. IUld
Wlirung eines einzigen Strichs geschehen spitzen. ohl1e \'on dc r Stelle zu weichen, clavichords. ntis sufficiently proves th at
solle. gl'wisser ma3 SS (,1I ('ben das ausrichtet. nOI more than one principal note is need-
absondl'rlich auf Lauten. Geigen und ed to eKpress the ornament. Whoever is
Vogt (Conclol'e p .1) Clavichordiell. die gnugsa m beweisen, familiar with organ tremulants will know
Tremula largo tremens in eodcm lana The tremula is a voice slowly trembl ing dap 1l1chr ni cht. als ein eintziger Haupt- that such a device only requires trembling
vox. on the same note. Klang. daJu erfordert wird. Wer die wind pressure ... . Sueh a trembling can
Tremulanten in den Orgelwen::ken ken- also be produced on one note with viol ins
Trilla, cder intcr duas notas V1 cmas The lri/{o is. rapid alternating movement neL wird WiSSt'TI. da ~ blo~ der zitternde through one st roke of the bow, without
vicissitudinarius curs us. between IwO neighboring notes. Wind daselbst die Sache ausmacht.... requiring a second one.
Au f Gl'igetl kan dergleichen Zittern auch
Walther (Lexicon ) mit den Bog~n in einem Stri ch. auf einem
Tremolo oder Tremulo und abbrevirt. Tremolo or Iremulo, abbreviated with Ton bl'Wl'Kksl('lliget werdell: ohn dap
Trem. bedeutet, dap auf besaiteten und Irem., refers 10 the playing on bowed, man daw l'inen zweiten ntilh ig hat.
mit Bogen zu tractirenden instOlmenten, stringed instruments of numerous notes
viele in einerley Tone vorkommende No- at the same pitch in one, trembling Man mllp also den Tremolo im gl'rin- One mu st not in the least confuse the Ire-
ten, mit einem zinernden Striche absol- stroke, which is to imitate an organ gstl'n nicht mit dem Trillo Irnd Trilletto molo with the trillo and trillelto, as al-
yirt werden soilen, wn den Orgel-Tremu- tremulant. Besides its diminutive, trem o- \'er1l1ischcn' \\ ie f;lSI aile alte Leh rer in most All pre vious authors have done in
lanten zu imiti ren ; manchmal aber auch, lello, it 8t times also means a trillo. ihren S('hriffien ge than haben: denn die their treatises. For th e latter ornaments
nebst seinem DiminutiY1) Tmnoletto, ein k l ztgl'nal1n1en Zie rralhen bestehen in consist of a sharp and clear. rapid striking
Trillo. ei nenl scharfTen und deutli chen Schlagen of twO identifiable adjacent or neighbor-
zwecncr zus:lInmenliegellder oder be- ing nOles. Funhennore, the trillo is in no
Trillo, ist eine Sing- und Spiel-Manier, The trilla is a vocal or instrumental em- nachbartcr. IUld Illit einlllider auf das hur- rC5pe<:1 differel1l from the triJJetto, r.<cept
zu deren expression (nad! Beschaffenheil bellishment indicated with a Ir or 1 wh ich tigsle un\'erwechselnder KIAnge; wie in the length or brevity oflheir duration,
der Vorzeichnung) entweder die secunda alternates either a major or minor second dl'nn auch das Tri llo von dem Trilletto which is very short in the latter.
major oder minor "ebrauchl, und diese (according to the key signature) with the sons! in keinCII1 StUcke Wllerschicden is!,
mit der auf dem Papier geseuten, lind mit written note in a rapid and sharply articu- als il1 cter l.1inge lind Ktlrtze ihrer Dauer,
einer tT, oder t bezeichnelen Note, lated fashion . It is eKecuted in such a die bey dem let.den nur sehr klein ist.
wechselsweise behende und scharff ange- manner that one begins on the higher
schlagen wird; jedoch dergesl8lt, dap nOle and ends on the lower, given note.
man hey der Mhern Note anhebet, und TrifJe/lO is the diminutive of /n'lla and
bey der tiefern als gegenwlT1igen. Note means a shon trillo.
 432 '"oria/io "urrutio 433

V ARIATIO. COLORATURA. DIMINUTIo. PA SSAGGIO: an om . sense (ill srr; cfa signijicorione). which would seem to coincide with
mentation of a melodic passage with a variety of embellishments. passaggio. and in the broad sense (in lola significatione), wttich involves
variation not only through the figure s. inciudingschemafoides, but also
Free or improvised melodic ornamentation has a long history in Western through transposit ion. change of mode, rhythmic meter, genus, density,
music , predating and inspiring the development of poly phonic music. number. and spread of voices or instruments, instrumentation, and the
With the rise of independent instrumental music through the Renaiss.'Ulce concertante arrangement of choirs and instruments. I
and Baroque eras, a parallel growth in methods and techniques of free Bernhard. who does not use the term diminurio,l equates the terms
ornamentation can also be witnessed. I Although this phenomenon hus variario, coloratllra. and passaggio, describing the device as a fonn of
little to do with the musical-rhetorical figures. a number of the embel- embellishment which can involve other figures, particularly running
Ii shmenlS.figurae simplices, or Maniere" which are used in free orna- figurati ons constructed out of various fonus of transitus. In contrast to
mentation do appear in various Figure"lehren. Both the process and the most of his other fi gures which modify the composition through various
result of applying Ihejigllrae simplices to an unomamented melodic line forms of dissonance. the variatio is Wlderstood as a figure employed to
is tenned variously as variatio, dimil1l1tio, coloratllra. and passaggio. 2 fill in the space between intervals, "rushing to the following principal
Of interest is Mattheson's footnote that the Mallieren, known as dimillu- note with all kinds of steps and leaps." As such, it is not understood as
lionem Ilolarum, are called Variation in the vernacular. Frequelltly the a general process of embellishment but rather as a specific figuration
definitions either implicitly or explicitly emphasize the need to preserve which might also involve other figures .
the original outline of the melody, stating either that the figurations occur janovka and Walther use the various tenns interchangeably, listing
between two principal noles or that the original melody not be obscured. coloratllra. diminlltio. and passaggio separately in their dictionaries;
In some definitions authors explicitly refer to the use of the /tgl/rae Walther also li sts variatio. While he equates dimbtutio and coloratllra
Simplices, while at other times the embellishments are described in more in his dimilllltio definition, he understands coloratura as a device which
general tenns. employs virtually all fonns of figurati on, including not only the figures
The embelli shment o f a melodic passage through variousjigllrae simplices but also diminutio and variatio. Similarly, his passaggio
simplices is termed dimi"lItio or c%ralllra by Practorius, passaggio by definition . which refers both to Printz and Brossard, includes the use of
Vogt, and variatio by Spiess. All three authors use their respective lenns variousfigllrae simplices. Unlike the coloratura, dim/fluno, and variatio
as general headings for the specific ornamental fi gures. Praetorius lists however. the passaggio is not described as a method of figuration but
the passaggio, consisting of any ascending or descending steps or leaps. as a figure in itself. which is not to extend beyond the limit of one breath.
as a specific ronn of dimillutio, while Spiess lislS dimillutio as a specific In his early composition treatise, Scheibe defines varialio as the
fonn of var;alio. subdivision of a longer dissonant note into numerous notes of shorter
Prinlz also differentiates between tenns. Like Vogt. he uses pas-
saggio to denote embellishment through various runningjigllres simp-
lices. His variatio refers to all conceivable kinds of variation. He subdi- i . "Es geschicht aber solche Variatio fUrnehmlich auff achleriey Weise: 1. Figuris.
vides var;al;O into two kinds, variation or embellishment in the strict 2. Schematoidibus, oder Modulis Figuris similibu!. 3. Transpositione ejusdem Moduli
in alias Claves. 4. Modis progrediendi Simpticibus und Composilis, oder Varia
Composilione Ped um Rhythmiconnn. 5. Generibus Modulationum, 6. Vocibus humanis.
earumque Crassitudine, Mullitudine und Lalitudine. 7. Instrumentis. eorumque Crassi-
1. For a thorough discussion of free omanlentation, see Neumann, O,."'",rrllfatioll. ludine. Multitudine, Latitudine und vani! Speciebus, und 8. Choris Concenanlibus &
esp. pt. 9. " Free Ornamentation:' 5231T. Complementalibus." Ph,,}'nis MYlilenoellS. p1.2, 46.
2. Diminullo appears both as a synonym for colora/ura and passagglo as well as 2. Bernhard suggests thaI the lenn Deminll/ion can be used instead of transitus to
a fonn of embellishment in ils 0"'"11 right. See Diminulio. denote a passing dissonance. See Transitus.
 434 varialio l'aria/iv 435

duration. Thi s definition coincides with Bernhard's and Walther's sagen vetTichtef1. dcr Accent uS zuweilen and at times the accentllS. occasivna!ly
darzukoml11e. bil}weilen auch die Sub- the Sl/bsumlin. and other previously men-
description of nluftipficalio. I
sumtio. und andere \orhergehends gcwie- ti oned figures are added.
sene Figuren
P~OriU5 (,'})?ltognra Musicum III p.232)
Filrs ander mup tin Sanger rhle Second (in addi lion to a good voice], the
Wissenschaffi haben I die Diminutiones
(so sonstm in gerncin Coloraturen gmcn-
singer must POSSCS5 th e expenise to ap.
propriately and graciously execute the
I I
net werden) lie blich und Apposite zu diminuliOflI!$, otherwise generally called
fonniren . Diminutio aber iS11 wenn tine coloraturen. Dimillu/io sign ifies a di s-
gras~ N()(a in viel andere geschwinde solving or breaking up of a longer note
o
und kJeinere Nocen resolvi ret und gcbro-
chen wird. Dieser sind nun unlet
sc hiedliche Arten und Modi : Deren d-
lithe Gradatim nacheinander folgende I
into numerous faster and smaller notes,
and can occur in various fonus and meth-
ods, induding in successive stepwise
.'
fashion. as for example the accentus, Ire. Bernhard (Berichl p 1-49)
geschehen: 81s I Accentu!, Tremulo, mulv. gnlppi, and tira/a. Vanalio. sonst Passagio genennct, ist, The I"ariatia. otherwise calledpassaggio,
Gruppi lind Tirata. wenn anstad einer grop en Note nlehr occu rs when, instead of a longer note,
kleinere llnd in unlerschiedlichen Clavi- numerous shorter ones at various pitches
(Synlagnra Music llnr l/I p.240) bus sich ereigncn, we lche t U der nach- are introduced whi ch tush to the follow-
Passaggi. Sind geschwi nde LlIuffe I wel- Passaggi arc rapid runs progressing by folgendcn Note eilen , ing note.
che beydes Gradatim Wld auch Saltuatim step OT by leap through all ascending or
dUTch aile Interval1a. wo wol ascendendo descending in tervals, applied to nOtes of Printz (PIII:I'II1'S l\(IIi1enaells pt.2 , p.46)
al~ descendendo. uber den Nolen so substantial duration. Hier aber iSI 1:\1 wissen I dall das Won It should be known that the word mria/io
etwas gellm I gesetzet Wld gemacht wer- Variatio bey dellcll ~'Iusicis auff zwey is used in two ways by musicians, namely
den. erley Weise gebraucht wird I ncmlich late in both a broad and a strict sense. In a
und suicte. In suicta Sign ificatione iSI stri ct sense. l-ariafiv refers to an anful
Bernhard ( Truc/alus p.73) Variatio eine kunslliche Veratlderung alteration (figuration) of a given melodic
Varialio, von dencn Itali!lnem Passaggio The vanallO, called passaggio by the eines \'orgegebencn Moduli. da man die- passage. yet in which the onginal melody
und insgemein Coloratura genanl, iSI; Italians and generally known as colora- ses allezeil in jener merc ken und aOOeh is alwa)'s not iced and recognized. In a
\IIeM tin lntmrallum durch mehm"e klei- /lira, occurs when an interval is allered men kan. In lata Significatione abet ist broad sense. I'ariafia signifies any kind
nere Noten gd.nden wird. also, dap an- through numerous shoner notes in such Varialio ci ne jede Verlinderung ci nes of alteralion of a melodic passage wheth-
stat1 ei ner gtopen N()(e mchr klcincre fashi on that, instead of the longer note. Moduli. es werde gldch dieser in jener er it includes the fanner kind or not.
durch allerhand Olnge und Sprilnge zu numerous shoner notes tush to the fol \ernlercket oder nicht.
der nl<:hstfolgcnden Note eilen. Oiese lowing (principal) note through all kinds
Figura ist so reich, daP aile ihrc Excmpel of runs and leaps. This figure is so abun (Plrr)-nis M)Ii/enuelis pt.2, p.65)
allzufllhren ohnmOglich. Jcdoch ist das dant that it is impossible to list all its ex Passaggio ist \\enn ctliche lauffende A panaggio occurs when a number of
ln tervall um. dadurch man zur nlichsten amples. Even so, the interval through FigureJ1 ' jedoch anders als in Tirata und run ni ng figu res are combined, yet in a
Note 5chreitet. entweder Sccundae, Ter- whi ch one progresses to the next note is Cireulo zusanllltef1 gesetZl werden: Item, different manner from the tira/o or cir-
tiae, Quanae. Quintae, Sextae oder Dc- either a second, third. fourth , fifth, sixth, werut Circuli. Tirate. Bombilantcs und Cillo. Likewise. when many or few cir -
tavae, selten abet Septimae .... Auch or octave, but seldom a seventh . . . . einfache lauffende i lie! oder wenig zu- culi. tfnl/e, bambi/anles. and other si mple
diese Variationes ktinnen noch weiter These mriUliooes can be varied still fur- S3nuncn gesetzt werden. running figu res are combined.
variiret werden, durch kleine Noten. Un d ther through shorter notC$. A knowl edge-
wird ein Verstatldiger ohn mein Anzei- able perron will easily 5 without my Janovka (Chll'is p.23)
gen teicht sehen, dall der Tran si tus und indicati on that the transitus and quas i- Colloraturae snm cursus aliqui in cantu ful/ora/lIrae. othetwise also called
Quasi-Transitus das vomehmste in Pas- transitus have best results in p assaggi, parvi. qui Diminutiones ali ter etiam dimimuimres. arc various shon runs in
vocantur. eo quod nota in qua aut loco the melody which are generated through
cujus fiunt. diminuat ur, se u in minoTes reducing or breaking up a note in itself or
dissolvatut. its place into smaller nOles.
I . See Mulliplicalia.
436 ,'orialio voriolio 437

Janovka (CJa~'if p.34) die Trilli. Tremoli. Tremoldti, Groppi. stepwise ornaments. such as lrilli. Ire
Diminuliooe5. vide Colloralurae DiminutiOlle.s. See Colloro/urol!. Circoli mezzi. Fioretti, Tirate. Ribattuti mofi. lremolell/. groppi. drcoli me::i.
di gola. u.s.r. sind 2) Sahualim cinge- jiorelfi. tirale. riba/lllli di gola. and simi
Janovka (Clovis p.96) ri chltle. nemlich urn cine Ten.. Quart. lar fi gures. or through figures which leap
Panagae (vocabulum Italieum) dicWllur Passagae. an IlalilUl tenn for diminul io- Quin!. u.s.f. springende. Ehemahls hie~ by a third. founh. fifth. etc. Previousl y.
diminmiones sal colloraturae aut pulch ri nes or co/loratllrae , are any delightful Bueh Dimin utio. wenn de!' Tact urn den diminulio also refernd to the accelennion
ce1en~5 a tertia, quarta, aut quandoque rapid and mOSt quickly executed runs dritten Tbeil, oder urn die Helme of the established laclUS by a third or a
etiam quinta davi sunum celerrime facli through the interval of a thi rd. rounh. or geschwinder. als ordinair gewBhnlich, hal f.
aJiquc cursus. even up 10 a fifth . gegebeu wurde.

Vogt (Cone/ave p .148) Passaggio [ital.} Passage [gall.} ist, wenn A passagKlo . .. occurs when a number
Omnes hae fi gurae ad faciendum pas- All thesejiSllrae (simplices} can serve to etliche lauffende Figuren anders als in or running figures are combined. yet in a
sagio conducunt: alque 5i passagio ltali- make apassoggio. Moreover, the Italian Ti rala lind Circolo zusammen gesetzt different manner from the tirala or dr
cwn est, in ordinatam phlVltasiam resolvi passoggio is such th at it can reveal the werden. it. wenn Circoli. Tiratae bombi c ulo. Likewise. when man y or few dr
potest. lmo habita phan lasia his figuris arranged pholltasia. Indeed, the structllre lantes mid einfach lauffende. viel oder cllli.liratae. bombilantes. and other sim
vITialU!. Vide exemplum: of the phon/asia is varied through these wen ig einander unminelbar folgen. s. pie running figures immediately foll ow
figurae [simplices }. as in the example: Prinlzens Compendium Signaloriae & each other. See Printz's Compel/dillm.
Modu latoriae vocalis. pag. 53. oder. nach p.S]. According to Brossard's descrip
Phantasia simplex Vsrialio Brossards Beschreibung, ei ne Reihe Ge- tion. a passage is a row of numerous
sang. aus vielen kl ei nen Nolen. als Ach smaller notes such as eighths and sil(o
teln. Sechzehentheilen etc. bestehend. so teenths extending over one, two, or at the
1. 2. oder aufs llingste 3 Tacte wlih ret. s. most three measures. See bis Dicliol/'
Menanzae omnes dessen D ictionaire. p.89. Am 303ten IIa ire , p.89. On page 303 he el( plains it
Blane er kl liret er es durch Morceau de through morceau de chant, where he
Mltel
Chant; und giebt dadurch zu verstehen: states that a passage should not extend
dap eine Passage nieht linger seyn solie. beyond the limil of one breath, j ust like
als man in einem Athem verrichlCl1 kon the bite of food (marceau) which aile
Tilala. gfopf)O ne; gleich einem Bissen (nmrccau) den takes al one time.
man auf dnmal ins Maul nimml.

Walther (Praecepta p.IS3) VaTiazione [ita1.J Variati on [gall.] Vari Variatio . .. occu rs when an unadorned
Varialio. Sonslen auch Passagio genannt The varia/io, oth erwise also called p as ati o llat.} heissel: wenn eine schlechte voca l or instrumental melody is alt ered
ist. wenn an statt einer gropen und langen saggio. occurs when, instead of a larger Sing oder SpielMelodie dureh AIIb rin and embellished through the introduction
Note, al1erhand gesch winde L!iufllein and longer note. nwnerous rapid runs are gung kleinerer Noten verlilldert und of smaller notes. yet in such a manlier
gemacht werden. fomlulated . ausgesc1 unUcket wird. doch so. dap man thai the principal melody notes Call still
dennoch die GrundMelodie mercket und be perceived and understood.
Walther (Lexicon) \erstehel.
Coloratura, pI. Coloral ure (iuIi .) ist dM Co/ora/ura, Co/orUlUr-e is the common
gemeine und sehr bekannte Wort. so nlan and very familiar word used in reference Martheson (Co/Hflmeisler p .116)
allen geschwinden Figuren. als: den Cir to all rapid figures. such as the circo/i Eigenllich ist es eine solche Figur. da In fact. it [cireolo me::o} is such a figure.
coli mem, Tremoli . Trilli. Diminutione, met:i, Iremali. Irilli, dimillutione, va";a dU Tch aus wenigen GrundNoten ge-- which occurs when numerous additional
Varialioni. und andern Uberh aupl beyzu lioni. and generally all other figures on wisser maassen ih rer meh r. und kJeinere smaller nOles, in a sense. are generated
legen pflegt. weil sie fein bun t und far account of th eir colorful appearance. (Man nen net dergleichen Zierralh durch out of a few princi pal notes. [Footnote: 1
blch! aussehen. gehends: Diminutionem Natarum; In der All such embellishments are called
P5bel.Sprache: eine Variation.) gemacht dim/lll1liolllmr IIt./1arunr; kno....ll as Vuria-
Diminutio ist eben was CoJoralura. wenn The dimimlfiv has the same meaning as werden. lioll in the vernacu lar.
man nemlich eine grope Note in viel klel calvraluru. namely. the division of a long
ne 7.erthei let. Es gibt deren vielerley Al nate into numerous shoner ones. This can Schcibe (Compendium)
ten, als: I) gradati m gdlende. dergleidlen be accomp lished either through the many Variatlo ist, wenn ich nemlich die Dis TIle \"Oriatiooe<:UfS when the dissonances
438 \ 'arialio

sonanz vor der Resolution durch k1einere before a resolution Il.re varied through
NOlen varBTe. smaller notes.
ApPENDICES
Spiess (TrO,",QIIlS p.156)
Varialio. Verllnderung, heisseI:. wann The l'Oriatio or alteration occurs when an
tine Sing. oder Spihl-Melodia dUTch ~adomed vocal or instrumental melody
AnbringWlg kleinertr NOlen vermderet ~s a1tere~ and embellished through the APPENDIX I , SUMMARY O F FIGURE DEFINITIONS
Wld ausgeschmUclc.et wird, doch so, dap mtroductlon of smaller notes, yet in such
man dannoch die Grund-Melodey oder a manner thai the principal melody notes AbruptiO: a sudden and unexpected break in a musical composition .
Grund-Salz mereket. verslehet, und or theme is still perceived, understood, Accell/us . Silperjeclio: a preceding or succeeding upper or lower neighboring
beybehaltet. Es geschehen abet die Varia- and retained. These van'Qtianes are the note, usually added to the written note by the perfonner.
liones theils dUTch Yerklein und Ver result partly of a lessening or diminution AcciaccalUra: an additional, dissonant note added to a chord, which is released
mindcrung der Noten (Diminutione Nota- of the notes' durations (called diminu -
rum) theils durch kleine, grosse, gleiche. tion' nOlQT1lm), partly through smaller. immediately after its execution.
wlgleiche Uiuffe, Sprllng etc. weicht I~er. equal, and unequal nUlS and leaps,
Anabruis. Ascenms: an ascending musical passage which expresses ascending
Buch Figurae simplices genennet, wid whIch are also calledjigurQ, simplices. or exalted images or affections.
gleich jetzl50lIen fiirgestellet werden, so, ~ese arc now ~o be introduced as Vogt Anadipiosis, Redl/plicatio: (I ) a repetition of a mimesis ; (2) a repetition of the
wie Maurit Vogt fol. 147. &. scqq gib!. dId. They are gtven the Italian terminol- ending of one phrase at the beginning of the following one.
Sic heisset\ mit ihren welschen Kunst- ogy of FigurQ CurlQ, Groppo, Girc% . Analepsis: a repetition of a noema at the same pitch.
~Onem. Figura Curta, Groppo, Circolo, TirQ/a, MessOllzQ or J,fisticanza, Tellula , Anaphora, Repelilio: ( I) a repeating bass line ; ground bass; (2) a repetition of
Tlrata. Messanza oder Misticanza, TerlU Ribat/uta, etc.
the opening phrase or motive in a number of successive passages; (3) a
la. Ribattuta etc.
general repetition.
Anaploce: a repetition of a noema, particularly between choirs in a polychoral
composition.
AI/licipalio, Praesllmplio: an additional upper or lower neighboring note follow-
ing a principal note, prematurely introducing a note belonging to the subse-
quent hannony or chord.
AI/time/abole: see HypaUage
Anristaecllol/: a substituted dissonance for an expected consonance, usually Ihe
result of the melody remaining on the same pitch while the bass implies
hannonic changes.
Antistrophe: see Hypallage
Antithesis, Anti/heton, Contrapositl/m: a musical expression of opposing affec-
tions. hannonies. or thematic material .
Apocope : an omitted or shortened final note in one voice of a composition.
Aposiopes is: a rest in one or al\ voices of a composition ; a general pause.
Apotomia: an enhannonic rewriting ofa semitone.
Ascel/sus: see Anabasis
Ass;m;iario, Homoiosis: a musical representation of the text' s imagery.
Asyndeton: an omission of the appropriate conj unctions in a text.
Auxesis , /ncremenWm : successive repetitions of a musical passage which rise
by step.
Bombl/s. Bambi, Bombilans: four identical notes in rapid succession.
Cadentia Durillscllia: a dissonance in the pre-penultimate hannony of a ca-
dence .
440 Appendix I Appendix I 441

Calabasis, DescellS lIS: a descending musical passage which expresses descend- of subsequent passages.
ing, lowly, or negative images or affections. Epizeuxis: an immediate and emphatic repetition of a word, note, motif, or
Cmachresis: see Faux BOllrdon phrase.
Celeritas: see Transill/s Ethophonia: see Mimesis
Cereal' della /lOla: see Subsumptio Excfamatio, Ecphonesis: a musical exclamation, frequently associated with an
Cirell/alio, Cirellla, Kyklosis: a series of usually eight notes in a circular or sine exclamation in the text.
wave fonnalion . utemio: a prolongation of a dissonance.
Climax, Gradatio: (I) a sequence ofnOles in one voice repeated either at a Faux Bourdon. Catachresis, Simul Procedentia: a musical passage characterized
higher or lower pitch; (2) two voices moving in ascending or descending by successive sixth-chord progressions.
parallel motion; (3) a gradual increase or rise in sound and pitch, creating Fuga : (I) a compositional device in which a principal voice is imitated by
a growth in intensity. subsequent voices; (2) a musical passage which employsfoga to vividly
Coloratura: see Variatio express chasing or fleeing.
Commissura: see Transitlls Gradatio: see Climax
Complexio, Complexus. Symploce: a musical passage which repeals its opening Groppo: a four-note motif in arch fonnation with a common fIrSt and third note.
phrase at ils conclusion. Heterolepsis: an intrusion of one voice into the range of another.
Congeries, Synathroismus: an accumulation of alternating perfect and imperfect Homoioptoton, Homoiote/euron: (1) a general pause in a1l voices (aposiopesis),
consonances, such as root-position and first-inversion triads. either intelTUpting the composition (homoioptoton) or following a cadence
Consonanliae lmpropriae: false consonances, such as certain fourth s, dimin- (homoioteleulon); (2) similar endings of a number of subsequent passages.
ished or augmented fifths , augmented seconds. and diminished sevenths . Homoiosis: see Assimilalio
COnlrapositio: see Antithesis Hypallage: an inversion of the fugal theme.
Corta: a three-note figure in which one note's duration equals the sum of the Hyperbaton: a transfer of notes or phrases from their nonnal placement to a
other two. different location.
Deminutio: see Transitus Hyperbolel Hypobole, Licentia: a transgression of the range or ambitus of a
Descens us: see Catabasis modus.
Diabasis: see Metabasis Hypotyposis : a vivid musical representation of images found in the accompany-
DiminUlio, Meiosis: (I) various elaborations oflonger notes through subdivision ing text.
into notes of lesser duration; (2) a restatement of thematic material in lmitatio: see Mimesis
proportionally shorter note values. lnchoatio Imperfecta: an omission of the opening consonance in the melody
Distriblltio: a musical-rhetorical process in which individual motifs or phrases which is supplied by the basso continuo realization.
of a theme or section of a composition are developed before proceeding to lncrementum: see Auxesis
the following material. Interrogatio: a musical question rendered variously through pauses, a rise at the
DlIbifatio: an intentionally ambiguous rhythmic or harmonic progression. end of the phrase or melody, or through imperfect or phrygian cadences.
Ecphonesis: see Excfammio Kyklosis: see Circulatio
Ellipsis, Synecdoche: (1) an omission of an expected consonance; (2) an abrupt Licentia: see Hyperbole, Parrhesia
interruption in the music. Ligatura: see Syncopatio
Emphasis: a musical passage which heightens or emphasizes the meaning of the Longinqua Distantia: a distance belw"een two neighboring voices of a composi-
lext through various means. tion in excess of a twelfth.
Epanadiplosis , Reduplicalio: a restatement of the opening ofa passage or phrase Manubrium: see Paragoge
at its close. Messanza: a series of four notes of short duration, moving either by step or by
Epanalepsis, Resllmplio: (1) a frequent repetition of an expression; (2) a restate- leap.
ment of the opening ofa passage at its close. Metabasis , Transgressio: a crossing of one voice by another.
Epanodos, Regress io, Reditlls: a retrograde repetition of a phrase. Metalepsis, Transumptio: afuga with a two-part subject. the parts alternating
Epiphora, Epistrophe: a repetit ion of the conclusion of one passage at the end in the composition.
442 Appendi~ J ApJnrrdi,l / 443

Mimelis, Elhophonia.imitatio: (1) a repetition ofa noemo at a different pitch; Reticentio: see Aposiopesis .
(2) an approximate rather than strict imitation of a subject at different Ribaullta: an accelerating trill in dotted rhythm. used to embellish a tenuta or
pitches. a note of extended duration.
Misticama: see Messanza Salti Composti: a four-note figuration consisting of three consonantieaps.
Mora: a rising resolution of a syncopatio when a falling one is expected. Salta Sempliee: a consonanlieap.
Mliltiplicatio: a subdivision of a longer dissonant note into two or more nOles. Sa/tus Dllrill~eullls: a dissonant leap.
Murafio Toni: an irregular alteration of the mode. Schematoides: a figure which restructures a previous passage either through
Noema: a homophonic passage within a contrapuntal texture. changing text Wlderlay or through durationa! augmentation or diminution.
Palilogia: a repetition of a theme, either at different pitches in various voices Seetio: see Tmesis
or on the same pitch in the same voice. Sexta Superjllla: see Comonantiae Impropriae
Paragoge, Manubrium, Suppfementum : a cadenza or coda added over a pedal Simul Proeedenlia: see Faux Bourdon
point at the end of a composition. Stenasmus : see SlIspiralio
Parembole, Inlerjectio: a supplementary voice in a fugue which fills in the Subsumptio. Quaesitio Notae (Cerear della nota): various additions of lower
harmony by proceeding parallel to one of the fugue 's regular voices. neighboring notes.
Parenthesis: a musical representation of parentheses in the associated text . Superjeetio: see Aecenlu~
Paronomasia: a repetition of a musical passage with certain additions or ruter SlIpplemenlllm: see Paragoge
alions for the sake of greater emphasis. Suspensio: a delayed introduction of a composition's principal thematic mate-
Parrhesia, Licentia: an insertion of a dissonance, such as a cross relation or riaL
tritone, on a weak beat. Suspiratio, Stenasmlls: the musical expression of a sigh through a rest.
Pas.taggio: see Variatio Symblema: see Tramitlls
PasSIl~ Duriuseulus: a chromatically altered ascending or descending melodic Symploce: see Complexio
line. Synaeresis: ( i) a suspension or syncopation; (2) a placement of two syllables
Pathopoeia: a musical passage which seeks to arouse a passionate affection per note, or two notes per syllabie.
through chromaticism or by some other means. Synalhroisnllls: see Congeries
Pausa: a pause or rest in a musical composition. Syncopalio, Ligarura: a suspension, with or without a resulting dissonance.
Pleonasmus: (I) a prolongation of passing dissonances through suspensions; Synonymia: a repetition ofa musical idea in an altered or modified fonn.
(2) fourpart harmonized chant;falso bordone. Temlla : see Ribat/uta
Polyptoton: a repetition of a melodic passage at different pitches. Tertia De/ieiens: see ComOl/anliae lmpropriae
Polysyndeton: an immediate repetition of an emphasis (aecentus) in the same Tirata: a rapid scalar passage spanning a fourth to an octave or more.
vOIce. Tmesis, Seelio: a sudden interruption or fragmentati on of the melody through
Prolepsis: see Antieipatio rests.
Prolongatio: a passing dissonance or suspension of longer duration than the Transgressio : see Metabasis
preceding consonance. Transitll~. Celeritas. Commissura, Deminlltio, Srmblema: a dissonant or passing
Prosopopoeia: see H),potyposis , Mimesis, Pathopoeia note between two consonant ones. either on the strong or the weak beat.
Quaesitia NOlae: see Subsumptio Transllmptio: see Metalepsis
Quasi Transitus: see Transitus Tremolo, Trillo: ( I) an instrumental or vocal trembling on one note, resulting
Reduplicatio: see Anadiplosis, Epanadiplosis in a \'lavering pitch or vibrato; (2) a rapid reiteration of one note; (3) a rapid
Resumptio: see Epanalepsis alternation oflwo adjacem notes; a trill.
Repereussio: ( 1) a modified interval in a tonal fugal answer; (2) a tonal, in Varia/io, Coloratura, Dimilll/tio, Passaggio: an ornamentation of a melodic
verted, or other modified fugal answer. passage with a variety of embellislunents.
Repetitio: see Anaphora
Retardatio: (1) a suspension which is prolonged or which resolves by rising;
(2) a delayed rather than anticipatory suspension.
444 Appendix 2 Appendix 2 445

Fuga: a compositional device in which a principal voice is imitated by subse-

APPENDIX 2: SUMMARY OF FIGURES BY CATEGORY
quent voices.
H I'p al/age. Allfllnelabole, ATIlistrophe: an inversion ~fthe fugal theme. .
A. FIGURES OF MELODIC REPETITION j\ ieIOfepsis. Tl'olls umpr;Q: sfuga with a ty.o-part subject, the parts altemaung
in the composition.
Anadiplosis: a repetition of the ending of one phrase at the beginning of the ,\I;mf'5;5: a repetition of a noema al a different pitch.
following one. Parembole. Imf'ljectio: a supplementary voice in a fugue which fills in the
AnapiJora, Repetitio: (I) a repeating bass line; ground bass; (2) a repetition of harmony by proceeding parallel to one orthe fugue's regular voices.
the opening phrase or motive in a number of successive passages; (3) a Parol/omasia: a n.-pelition of a musical passage with certain additions or alter-
general repetition. ations for the sake of grealer emphasis.
Auxesis.lncrementum: successive repetitions of a musical passage which rise ReperclIssio: (1) a modified interval in a tonal fugal answer; (2) a tonal, in-
by step. verted. or other modified fugal answer.
Climax, Gradatio: (1) a sequence of noles in one voice repeated at either a
higher or lower pitch; (2) two voices moving in ascending or descending
parallel motion; (3) a gradual increase or rise in sound and pitch, creal ing C. FIGURES OF REPRESENTATION AND DEPICTION
a growth in intensity.
Complexio, Complexlls, Symploce: a musical passage which repeats its opening Anabasis, Asctnsus: an ascending musical passage which expresses ascending
phrase at its conclusion. or exalted images or affections.
Epanadiplosis, Redllplicatio: a restatement of the opening ofa passage or phrase Antithesis, Al1Ii/heton, Contrapositum: a musical expression of opposing affec-
at its close. tions, harmonies, or thematic material.
Epana/epsis, Resllmptio: (I) a frequent repetition of an expression; (2) a restate- Assimilatio. Homoiosis: a musical representation of the text ' s imagery.
ment of the opening of a passage at its close. Catabasis. DeSCfrlSlts : a descending musical passage which expresses descend-
Epanodos, Regressio, Rediflls: a retrograde repetition of a phrase. ing, lowly. or negative images or affections.
Epiphora. Epislrophe, HomoioplOlon: a repetition of the conclusion of one CirCII/atio, GrclI/o, Kylclosis: a series of usually eight notes in a circular or sine
passage at the end of subsequent passages. wave fonna!ion.
Epizeuxis: an immediate and emphatic repetition of a word. note, motif, or Dubiratio: an intenlionally ambiguous rhythmic or hannonic progression ex-
phrase. pressing dou bt. . '
Mimesis, Ethophonia, Imitatio: an approximate rather than strict imitation of Emphasis: a musi cal passage which heightens or emphasizes the mearung of the
a subject at different pitches. textlhrough various means. . .
Palilogia: a repetition of a theme. either at different pitches in various voices Exc/amatio, Ecphonesis: a musical exclamation, frequently associated With an
or on the same pitch in the same voice. exclamation in the text.
Po/yptoton: a repetition of a melodic passage at different pitches. F/lga in alia sensu: a musical passage which employs Juga to vividly express
Po/ysyndelon: an immediate repetition of an emphasis (accentus) in the same chasing or fl eeing. .
vOIce. H)pol}posis , Prosopopoeia: a vivid musical representation of images found m
Synonymia: a repetition of a musical idea in an altered or modified form.
the accompanying tex!. .
Imerrogatio: a musical question rendered variously through pauses, a nse at the
B. FIGURES OF HARMONIC REPETITION; FUGAL FIGURES end of the phrase or melody, or through imperfect or phrygian cadences.
Metabasis, Transgressio: a crossing of one voice by another. .
Anadiplosis: a repetition of a mimesis. Noema: a homophonic passage within a contrapuntal texture, used ~or emphasIS.
Analepsis: a repetition of a nOtma at the same pitch. Parenthesis: a musical representation of parentheses in the associated text.
Anap/oce: a repetition of a noema, particularly bel\veen choirs in a polychoral Pathopotia: a musical passage which seeks to arouse a passionate affection
composition. through chromaticism or some other means.
 446 Appendix 2 447

per note, or two notes per syllable.

D. FIGURES OF DISSONANCE AND DISPLACEMENT
Syncopafio. Ligotura: a suspension, with or without a resulting dissonance.
Transitus, Celeritas. CommisSllra, /Jeminlilio. Symblema: a dissonant or passing
Amistaechon: a substituted dissonance for an expected consonance, usually Ihe nOle between two consonant ones, either on Ihe strong or the weak beat.
result of the melody remaining on the same pilch while the bass implies
hannonic changes.
Apocope: an omitted or shortened final nole in one voice of a composition.
Apotomia: an enharmonic rewriting of a semitone. E. FIGURES OF I NTERRUPTION AND SILENCE
Asyndeton: an omission of the appropriate conjunctions in a text.
eodemia DurilisclIla: a dissonance in the pre-penultimate hannony of a ca- Abnlptio: a sudden and unexpected break in a musical composition.
dence. Aposiopesis. Relicel/tia: a rest in one or all voices of a composition; a general
Congeries, Synalhroismlls: an accumulation ofaltemating perfect and imperfect pause.
consonances, such as root-position and first-inversion triads. Ellipsis. Synecdoche: ( I) an omission of an expected consonance; (2) an abrupt
Consonantiae lmpropriae: false consonances, such as certain fourths, rlimin- interruption in the music.
ished or augmented fifths, augmented seconds, and diminished sevenths. Homoioptolon. Homoioleleuron: a gen~ral pause in all voices (aposiopesis),
Ellipsis, Synecdoche: (I) an omission of an expected consonance; (2) an abrupt either intemJpting the composition (homoioptoton) or following a cadence
interruption in the music. (homoioteleuton) .
M lensio: a prolongation ofa dissonance. Pawa: a pause or rest in a musical composition.
Faux Bourdon. Catachresis, Simu/ Procedentia:a musical passage characterized Swpiralio, StenasmllS: a musical expression of a sigh through a rest.
by successive sixth-chord progressions. Tmesis, Seclio: a sudden interruption or fragmentation of the melody through
Helero/epsis: an intrusion of one voice into the range of another. rests.
Hyperbalon: a transfer of notes or phrases from their nonnal placement to a
different location.
Hyperbo/e/Hypobo/e: a transgression of the range or ambilus of a modus . F. FIGURES OF M ELODIC AND
lnchoalio Imperfecla: an omission of the opening consonance in the melody
which is suppl ied by the basso conlinuo realization. HARMONIC ORNAMENTATION
Longinqua Dis/anl;a: a distance between two neighboring voices of a composi-
tion in excess of a t\\'Clfih. AccentllS, Sliperjeclio: a preceding or succeeding upper or lower neighboring
Mora: a rising resolution of a syncopario when a falling one is expected. note, usually added to the written note by the perfonner.
Mulliplicalio: a subdivision of a longer dissonant note into two or more notes. Accioccatura: an additional, dissonant note added to a chord, which is released
Mulatio Tuni: an irregular alteration of the mode. immediately after its execution.
Porrhesia. Licenlia: an insertion of a dissonance, such as a cross relation or Anlicipolio. Praesumptio, Prolepsis: an additional upper or lower neighboring
tritone, on a weak beat. note after a principal note, prematurely introducing a nO{e belonging to the
P(JJsus Durillsculus: a chromatically altered ascending or descending melodic subsequent harmony or chord.
line. BombllS, Bombi. Bombilans: four identical notes in rapid succession.
P/eonasmIlS: (I) a prolongation of passing dissonances through suspensions; Coria: a three-note figure, in which one note's duration equals the sum of the
(2) four-part harmonized chant;falso bordone. other two.
Pr%ngatio: a passing dissonance or suspension of longer duration than the Groppo: a four-note motif in arch formation ",:ith a common fITSt and third note.
preceding consonance. Messanzo, Mislicanza: a series of four notes of short duration, moving either
Relardolio: ( I) a suspension which is prolonged or which resolves by rising; by step or by leap.
(2) a delayed rather than anticipatory suspension. Ribattuto, Tenuta: an accelerating trill in dotted rhythm, used to embellish a
Sa/tllS Dur;uSCIIIIlS: a dissonant leap. tenllla or a note of extended duration.
Synaeresis: ( I) a suspension or syncopation; (2) a placement of two syllables Sa/Ii Composl;: a four-note figuration consisting of three consonant leaps.
So/Io Semplice: a consonant leap.
 Appendix 3 449
448 Appendu 3

syncopalio catachrestica auxesIs

Subsllmplio. Qllaesitio NOlae (Cercar della /lota): various additions of lower
passus duriusculu5 conge-nts
neighboring notes . fauxbourdon
mUlatio toni
Tirata: a rapid scalar passage spanning a founh to an octave or more. parmesia
inchoatio imperfectB
Tremolo. Trillo: (I) an instrumental or vocal trembling on one note, resulting longinqua distantia hyperbole
in a wavering pitch or vibrato; (2) a rapid reiteration of one note; (3) a rapid consonantiae impropriae pathopoeia
alternation of two adjacent notes; a Irill. quaesitio nolae hypotyposis
Varialio, Coloratura, Diminutio, Prusaggio: an ornamentation of a melodic cadenliae duriusculae aposiopesis
passage with a variety of embellishments. stylus /u)lurians ,hf/afralis B URMEISTER
ICxtensio (Musiea Autruehtdiastib,
ellipsis Musiea I'oetiea)
mora figurat harmoniat
G. M ISCELLANEOUS FIGURES abruptio fuga realis
transitus inversus me-talepsis
heterolepsis hypallage
DiminUlio, Meiosis: (1) various elaborations oflanger n()(es through subdivision
tenia deficiens apocope
into notes of lesser duration; (2) a restatement of thematic material in SICxta superflua noema
proportionally shorter note values.
B ERNHARD (Bericht) analepsis
Dislribulio: a musical-rhetorical process in which individual motifs or phrases mime-sis
figurae fondamentales
of a theme or section of a composition are developed before proceeding to syncopatioll igatura ana diplosis
the following material. transitusldeminutio symblema
Paragoge. Manubrium, Supplemenlum: a cadenza or coda added over a pedal (regularis. ilTegularis) syncopalsynaeresis
point al the end of a composition. figurat Suptificialu pleonasmus
Schematoides: a figure which restructures a previous passage either through superjectiolaccentus auxesis
subsumptio palhopoeia
changing text Wlderlay or through durational augmentation or diminuti on.
varialiolpassaggio hypotyposis
Suspensio: a delayed introduction of a composition's principal thematic mate- aposiopesis
multiplicalio
rial. anaploce
ellipsis
retardatio figurot melodioe
heterolepsis parembole
quasitransitus palilogia
abruptio climax
APPENDIX 3: LIST OF FI GURES BY A UTHOR palThesia
(Authors are lisled in alphabetical order, the figures in order of their B URMEISTER (H>pomntmalum) hyperbole
appearance in the respective treatises.) fuga realis hypobole
fuga imaginaria figurae /(lm harmoniae quam mefooiae
hypallage congerieslsynathroismus
AHLE emphasis
'P""">< faux bourdonl
epizeu:d s BERNHARD (Tractatus) palilogia s;mul procedentia
anaphora styll/s gravis paremobole anaphora
synonymia transitu!ldeminutio anaphora fuga imaginaria
asyndeton syncopalio
polysyndeton styllls/II.'lllrians communis "."'''
analepsis
(listed elsewhere)
supplementum
anadiplosis superjwio!accentus metalepsis
climax amicipalio mimesis FORKEL
epistrophe subsumpt io anadiplosis ellipsis
epanalepsis variatiofpassaggiolcoloratura symblemalcommissura Wiederholung (repetitio)
epanodos multiplicatio syncopa paronomasia
antithesis prolongatio pleonasmus suspensio
 450
Appendix J
Appendi.'f J
epislrophe 451
gradatio paragoge
apocope pol Yploton
dubilalio anlanaclasis S CHEIBE (Compendium)
(Liber 8, defined)
Gegnuatz (amithcsis) ploce anticipillio
pausa
Zergliederung (distributio) exclamatio retardalio
synonymia slenasmus/suspiratio varia,io
parrhesia
anaphoralrepetitio
JANOVKA paradoxa generum Verwechselung
climax/gradatio
jigllrac principales epamorthosis S CHEIBE (Crilischer MusiclIs)
sympJoce/complexus
commissura paraleipsis exclamatio
homoioptoton!
syncopalio aposiopesis dubilatie
similiter desinens
fug. apostrophe ellipsis
iIltithetonlcontrapositum
jigl/rae minus principe/e.r anabasislascet1sio NuclUS hyperbaton
pausa talabasi!ldescensu! jigl/roe principales repetitio
stenasmuslsuspiratio kyk losisici rculalio commissura (directa. eadens) paronomas13
anaphoralrepetitio fuga (in alio sensu) fuga (tolalis, partial is) dislribulio
climaxlgradatio homoiosislusimilatio repetitio antithesis
complexus abruptio figurae "';'II/S principoles suspenslO
simililer desinens climax inrerrogatio
MAl11IESON epistophe
antithetonlcontrapositum complexio
anabasi slascensio Mon leren (Figarae Cantionis) gradatio
homioteleuton
accent (Vorsclilag, harmonische Figuren
catabasisldescensus syncopatio
circulatio Oberschlag) transitus (regularis,
(listed elsewhere)
tremolo
fuga (in alio sensu) manubrium irreKularis)
trillo
assimilatio sycopatiolligatura
trilletto PRINTZ
abruptio Fuge
(listed elsewhere) "",ppo Einfache FiguFen
circolo mezzo variatio SPIESS
falso bordonelpleonasmus figllro e simplices
lirata accemus
colloraturae
tenuta tremolo va riatio
diminutiones
ribattuta groppo cu rta
passagae
Durchgangltransitus circulo mezo groppo
KiRCHER (Liber 5) mordan t lirata meza circulo
figurae prim:ipales acciacatura bombi circulo mezzo
commissuralsymblemal (listed elsewhere) salta semplice tirata
celeritas synonymia salti composti messanza
syncopatio repercuss ioJrefractio cona ten uta
fuga (totalis, partia/is) emphasis messanza ribalt Ula
figurae minus pnncipalu interrogalio suspirans superjecllO
(not defined) exclamatio trillo trillo
pausa parenthesis trilJelto mordent
repetitio Fuge Zusammengeset::te Flg uren acciaccatura
climax imitatio circulo fig urae
complexus figurae canlus tirata abruptio
anaphora epizeuxisls ubjunctio bombilans IIccentus
catachresis anaphora passaglO anabasislascensus
noema epanalepsis tremamenlo longo catabasis/desccnsu.s
prosopopoeia epistrophe rni st ichanza composla anaphora
parrhesia anadiplosis pausa anti lhesis/coolrapos itio
aposiopesis paron om asia schemaloides antistllechon
aposiopesis
 452 Appendix J
AppendiJt .f 453
acceJlms
anaph ora
Mticipatio quasitransitus diminulio
anlislae.:;hon
retardat io (mentioned. but not defined) ellipsis
anlitheton
emphasis epiuuxis epanadiplosislreduplieatio
aposiopesis
t thophon ialminlesis anaphora epanalepsislresumptio
Rpolomia
diminullo synonymia epanodos
climax
imilalio anadiplosis epistrophelepiphora
ecphonesi!
metabasis cpistrophe epizcuxisladjunctio
epanaJepsis
tmesislsectio epanalepsis exelamDlioiecphonesis
ethophonialmimesis
THUR!NGUS emphasis 1. G. WALTHER (Luicon) falso bordone
jiguroe principales polyptoton abruptio fau"bourdon
commiS5urals),mbl tmal polysyntheton accel\tus figura mula
celeritas (directa. eadens) schemat oides acciaeeatun fuga
fug. lIJetabasis anabasis groppo
syncopaliv sinaere!i! anadiplosislreduptieatio messanza
fig urae minus prindpales ! tenasmus analepsis mimesislimitatio
pausa tmesis/sectio anaphora mutatio
repetitio/mimesis (listed elsewhere) anticipatio notae nacma
climaxlgradalio hypolyposis antithesis palilogia
compltxio prosopopoeia antitheton paragoge
anaphora prosonomasia apocope parrhesia
calachresislfauxbourdon passaggio
noema
E. WALTHER aposiopesis (bomoeoteleut on,
paUla
homoeoptoton)
fuga repercussio
panhopoeia apotome
hypaJlage rC1ardatio
parrhisia auxesis
clima" salti composti
aposiopesis (homioptolon! bombilans
anadiplosis saito semplicc
homioteleuton) bornbo
hypotyposis superjectio
paragoge catabasis
anaphora suspirans
'poro", calaehre!is
mimesis symblema
VOGT cercar della nota
pathopoeia sycopatio
circolo
figurae simplices syncope tirata
circulo mezzo
tremula paremoble transitus
climax/gradalio
trilla au.xesis tremolo
coloratura
accentus J. G. WALTHER (PrQe~epla) trillo
commissura (eaden!, directa)
mezocircolo
figurae fUl/d(jmenIQ'~ eomplexio tril1ctto
curta variatio
gTOppo
syncopatiolligatura oort.
tran situs/commissura
circulus
(regularis. irregularis)
tirata
fuga
messanza jigtlrae slIperjiciafe.f
COllie
superjeclio/accentus
herbeccio
subsumptio
harpegiaturae APPENDIX 4, SUMMARY OF FIGURES BY AUTHOR
variatio
pau8ggio
mulliplicatio
figuroe ideoles
ellipsis Abrllptio: Bernhard, Janovka, Kircher, Spiess, Vogt, Walther
aIlaha51 siascensus retardatio Accenlus, Superjectio: Bernhard, Manheson, Prinlz. Spiess, Walther
catabasisldescensus
anadiplosis
helerolcpsis Acciaccatura: Mattheson, Spiess. Walther
abruptio Anabasis, Ascensus: Janovka, Kircher, Spiess, Vogt, Walther
 454 A.ppendix" Appendix <I 455

Anadiplosis: Able, Bunneister, Mattheson, Vogt. Walther Ellipsis, Synecdoche: Bernhard, Forkel, Scheibe. Walther
Analepsis: Bunneister, Walther Emphasis: Mattheson. Spiess, Vogt
Anaphora, Repelitio: Ahle, BUnneister, Farkel, Janovka, Kircher, Mattheson Epanadiplosis: Vogt, Walther
Nucius, Scheibe, Spiess, Thuringus, Vogl, Walther ' Epanalepsis: Able, Mattheson, Vogt, Walther
Anaploce: Bunneister Epanodos. Regressio, Reditus: Able. Walther
Antieipatio, Praesumplio: Bernhard, Scheibe, Spiess, Walther Epiphora, Epistrophe: Able, Mattheson. Forkel. Scheibe. Walther
Antimetabole: see Hypal/age Epizeuxis: Able, Mattheson, Walther
Antistaechon: Spiess, Vogt Elhophonia: see Mimesis
Antistrophe: see Hypallage Exc/amalio, Ecphonesis: Mattheson, Praetorius. Scheibe, Vogt, Walther
Antithesis, Anlithelon, Contrapositum: Farkel, Janovka, Kircher, Mattheson, Exlensio: Bernhard, Walther
Scheibe, Spiess, Vogl, Walther Faux Bourdon, Catachresis. Simul Procedentia: Bunneister, Janovka, Praeto-
Apocope: Bunneister, Thuringus, Walther rius. Thuringus, Vogt, Walther. Werckmeister
Aposiopesis: Bunneister. Spiess, Thuringus, Vogl, Walther Fuga: Burmeister, Janovka, Kircher. Mattheson. Nucius, Thuringus, Walther
Apotomia: Vogt, Walther Gradatio: see Climax
Ascensus: see Anabasis Grop{XJ: Mattheson. Primz, Spiess. Walther
Assimilatio, Hamoiasis: Janovka, Kircher Heterolepsis: Bernhard. Walther
Asyndeton: Able Homoioptoton, HonroiOleleuton: Janovka, Kircher. Nucius, Thuringus, Walther
Auxesis, Incrementum: Bunneister, Walther Homoiosis: see Assimilatio
Bombus. Bambi, Bambi/ans : Printz, Walther Hypallage: Bunneister
Cadentia Duriuscula: Bernhard Hyperbaton: Scheibe
Catohasis, Descensus: Janovka, Kircher, Spiess, Vogt, Walther HyperbolelHypobole: Bunneister
Cotachresis: see Faux Bourdon Hy{XJtyposis: Bunneister. Vogt
Celeritas: see Transitus Inritalio: see Mimesis
Cercar della nola: see Subsumptio Inchoatio III/perfecta: Bernhard
Circulalio, Circulo, Kyklosis: Janovka, Kircher, Mattheson, Printz, Spiess, Incremenlum: see Auxesis
Vogt, Walther Inlerrogalio: Bemhard, Maltheson, Scheibe
Clima'C, Gradario: Ahle, Bunneister, Forkel, Janovka, Kircher, Nucius, Scheibe, Kyklosi.s: see Circulalio
Thuringus, Vogt, Walther Licenlia: see Hyperbole, Parrhesia
Coloratura: see Variatio Ligatllra: see Syncopalio
Commissura: see Transitus Longinqlla Distantia: Bernhard
Complexio, Complexus, Symploce: Janovka, Kircher, Nucius, Thuringus, Manubrium: see Paragoge
Walther Messanza: Printz. Spiess, Walther
Congeries, Synathroismus: Burmeister Metabasis, Tm/lSgressio: Spiess. Vogt
Consonanliae Impropriae: Bernhard MClalepsis. Transumptio: Bunneisler
Contraposi/um: see Anlithesis Mimesis, Ethophonia, Inri/Olio: Bunneister. MatlheSOIl, Spiess, Thuringus, VOgl,
Corta: Printz, Spiess, Walther Walther
Deminulio: see Transitus Misticanza: see Messanza
Descensus: see Calabasis Mora: Bernhard
Diabasis: see Metabasis Mulliplicatio: Bemhard, Walther
Diminlltio, Meiosis: see Variatio MI/talio Toni: Bernhard. Walther
Distributio: Forkel, Scheibe Noema: Bunneister. Thuringus, Walther
Dubita/io: Forkel, Scheibe Palilogia: Bunneister. Walther
Ecphollesis: see Xc/amatio Paragoge. Manubrium. Stipplemenlllm: Bunneister. Nucius, Thuringus, Walther
 456 Appendix 4 Appendix 4 457

Parembole, lnterjectio: Burmeister Tirala: Manheson. Printz. Spiess, Walther

Parenthesis: Mattheson Tmesis, Seetia: Spiess. Vogt
Paronomasia: Mattheson, Farkel, Scheibe Transgressia: see Metabaris
Parrhesia, Licentia: Bernhard. Burmeister. Herbst, Thuringus, Walther Transitus, Ce1eritas, Commissura. Deminwio, Symblema: Bemhard, Bur-
Passaggio: see Variatio meister. Kircher. Mattheson. Nucius, Scheibe, Thuringus, Walther
Pass us Duriusculus: Bernhard Transumptio: see Metalepsis
Pathopoeia: Burmeister, Thuringus Tremolo. Trillo: Mattheson. Praelorius, Printz, Vogt, Walther
Pausa: Janovka, Kircher. Printz, TImringus, Walther Varia/fa, Coloratura. Diminutio, Passaggio: Bernhard. Janovka, Mattheson.
Pleonasmus: Burmeister, Janovka, Vogt Praetorius, Printz, Scheibe, Spiess. Vogt. Walther
POlyplolon: Mattheson, Vogt
Polysyndeton: Ahle, Vogt
Prolepsis: see Anticipatio
Profanga/io: Bernhard
Prosopopoeia: Janovka, Kircher. Vogt
Quaesitio Nolae: see Subsumptio
Quasi Transitus: see Transiws
ReperclIssio: Mattheson. Walther
Repelitio: see Anaphora
Retardatio: Bernhard, Scheibe, Spiess, Walther
Reticentia: see Aposiopesis
Ribartuta: Mattheson, Spiess
Safti Composti: Printz, Walther
Saito Semplice: Printz, Walther
Sallus Duriusculus: Bernhard
Schema/oides: Printz, Vogt
Seclio: see Tmesis
Sexta Superflua: see Consonanliae lmpropriae
Simul Procedentia: see Faux Bourdon
Stenasmus: see Suspiralio
Subsumptio, Quaesitio Notae (Cerear della nOla): Bernhard, Walther
Superjectio: see Accenlus
Supplemenlum: see Paragoge
Suspensio: Forkel, Scheibe
Suspiralio. Slenasmus: Janovka. Kircher. Printz, Vogt, Walther
Symblema: see Transitus
Symploce: see Complexio
Synaeresis: Bunneister, Vogt
Synathraismus: see Congeries
Syncopalia, Ligatura: Bernhard, Bwmeister, Janovka, Kircher, Nucius, Scheibe,
Thuringus, Walther
Synonymia: Able, Forkel, Mattheson, Walther
Tenuta: see Ribattuta
Tertia Deficiens: see Consonanliae Impropriae
 Bibliograph.l' 459

logie. Bern : Franke. 1967.

Barner. Wilfried. Barockrhetorik. Umersllchltllgen =u Owen geschichllichen
BIBLIOGRAPHY Grwldfagen. Tiibingen: Niemeyer, 1970.
Kehrein. Joseph. Beispie/sQIIIIIIIIIIIg in der Leiwe W)1l den Figuren wId
A. PRJ MARY RHETORJCAL SOURCES Tropen . Berlin: DUllcker & Humbolt. 1839.
Kennedy, George A. Classical Rhe/oric and Its Chris/ioll and Secular
Tradition/rom Ancient to Modern Times. Chapel Hill: University of
Caldenbach, Christoph. Compendium rhelorices. TUbingen. 1682.
Cicero. De Oratore. Loeb Classical Library. London: Heinemann, 1949. North Carolina Press. 1980.
Kristeller, PaulO. Renaissance Though/ and lIs Sources. New York: Co-
Descanes, Rene. us Passiom de I'ame. Paris: Ie Gras, 1649. Ed. G. Rodis
Lewis. Paris: Librairie philosophique J. Vrin, 1966. lumbia University Press, 1979.
Lausberg, Heinrich. Handbllch der lirerol'ischell Rhelorik. Munich: Hueb-
Emesti, Johann Chr. Lexicon technologiae Graecorliltl rhetoricoe. Leipzig,
1795. Facs. ed. Hildesheim : DIms, 1962. ner, 1960.
Murphy, James. A Synoptic His /ory o/Classical Rhetoric. New York:
- -- . Lexicon lechnologiae /arinorum rheloricae. Leipzig, 1797. Facs. ed.
Hildesheim : Dims, 1962. Random House, 1972.
Sonn;no. Lee A. A Handbook 10 Si'(leenlh-Cellfllry Rlle/oric. London:
Gottsched. Johann Christoph. Awfohrliche Redekllnsl noeh An/eilling der
Greichen lind Romer wie auch der Ilellern Allsltinder. Leipzig: Brei!-
Routledge & Kegan Paul. 1968.
kopf, 1736. Facs. ed. Hildesheim: Olms, 1973.
- - - . Versuch eiller crilischen Dichtkunsl. 4th ed, Leipzig, 1751 .
Lamy, Bernhard. La Rherorique: Oil, /'an de parler. 4th ed. Paris: Delaulne C. P RIMARY MUSICAL SOURCES
1701. '
Lippius. Johannes. Philosophia \'errae el sincerae sinoplicae. Erfurt, 1614. Able. Johalm G. Mllsikalisches Fnihlings-, Sommer-. Herbst-. lind Winter-
Lossius, Lucas. rotemala Dialeelicae el Rheloricae Philippi Me/aneh- Gesprache. Milhlhausen : Paul i und Bruckner. 1695-1701.
thon;s. Leipzig, 1562. Bach, C. P. E. VerSlich uber die wah,.e Art. das Klal'ier =1I.~piden. Berlin :
Melanchton, Philipp. lnsliluliones rheloricae. The Hague; Anshelm, 1521 , 1753. 1762. Facs. ed. Leipzig: Breilkopf & Hartel. 1978.
Peacham. Henry. the Garden a/Eloquence. 2nd ed. London, 1593. Facs. ed. Bacon, Francis. Sylva 5yl\'Orllm ; or, A /I(ltllrall his/orie, ill ten centuries.
Gainesville FL: Crane, 1954. London, 1627.
Putlenham, George. The Arte 0/ English Poes ie. London: Field, 1589. New Bernhard. Christoph. Traelatlls composirionis allgmentaws; Ausfiihrlicher
ed. Cambridge University Press, 1936; 1970. Berieht \'0111 Gebrallche del' Call- I/Ild Dis,Wmmtiell. New ed. In Die
Quintilian. lnslillilio oraloria. Eng. trans. H. E. Butler. London : Heinemann , Komposirionslehre Heinrich Schiil=ells ill der Fosslmg seines ScMi/ers
1921; Cambridge: Harvard University Press, 1966. Ch,.. Bernhard. ed. Joseph M. MiHler-Blattau. Leipzig: Breitkopf &
Susenbrotus. Johannes. Epitome Iroporum ac schematum e/ grammatieorum Hartel. 1926: 2nd ed .. Kassel : Blirenreiter, 1963 .
et rherorllnl. Antwerp, 1566. Bunneisler. Joachim. Hypollll1 elllatulII musicae [x)elicac. Rostock: S.
Vossius, Gerardus. Commentatorillm rneloricorllm. Leiden, 1606. Myliander, 1599.
- -- . In.Jtillifiones rhetoricae. 1630. ___ . Mllsica alltoschediaslike. Rostock: C. Reusner, 1601.
Weissenborn. M. Christoph. Grundlicne Einleillmg lIIr teU/schen und ___ . Mllsicapoer ica. Rostock : S. Myliander. 1606. Facs. ed. Kassel :
lafeinischen Oralorie. DresdenILeipzig; HUbner, 1731 . Blirenreiter, 1955.
BUller, Charles. Tire principles ofnlll.~ik. London. 1636. Facs. ed. New York:
Da Capo. 1970.
B. SECONDARY RHETORICAL SOURCES Calvisius. Seth. r:erciratiolJes tlllIsicae dl/ae. Leipzig, 1600, 1611.
___ . Mc/opoeia siw melodiae COIlc/endae ralio. Erfurt, 1592.
Arbusow, Leonid. Colores rhelorici. G6t1ingen: Vandenhoeck & Ruprecht Descartes. Rene. Compendium nll/sicae. Utrecht. 1650: Compendium 0/
1948. ' Mus ic. Trans. W. Robert. Rome: American Institute of Musicology,
Auerbach, Erich . 'Figura.' In Gesammefle AujStilze zur romanischen Philo- 1961.
 460 Bibliography Bibfiogruphy 461

Dressler. Gallus. Praecepra musicae poelicae. Magdeburg, 1563. Newed. icheibe, Johann. Compendium musices theoretico-practiCllm. Ca . 1730.
Ed. B. Engelke . Magdeburg: Geschichtsbllllter fUr Stadt und Land New ed. In Die deulsche Kompositions/eltre des 18. Jahrhunderts . ed.
Magdeburg, 1914. Peler Benary . Leipzig: Breitkopf & Hrtel. 196 1.
Forkel, Johann N. Allgemeine Geschichte der Mltsik. G6ttingen, 1788. Facs. ___ . Der critische Mwicw. Leipzig, 1745. Facs. ed. Hildesheim : Olms.
ed. Graz: Akademische Druck- und Verlagsanslait, 1967. 1970.
Glareanus. Henricus. Dodekachordon. Basel, 1547. Facs. ed. Rome: Ameri- ipeer, Daniel. Vierfaches musicafisches K/eeb/al. Ulm. 1697.
can Institute of Musi cology, 1965. ;piess, Meinrad. Tractatus musiclls camposiforio-praetieus. Augsburg,
Heinichen, Johann D. Der General-Bass in der Composition, Hamburg, 1745.
1711. 2nd ed. Dresden. 1728. Facs. ed . Hildesheim: Olms, 1969. Thuringus, Joachim. Opuscllfum biparlilum. Berlin, 1624.
Herbst. lohrum Andreas . Musica poetica sive compendillm me/opoeticum. finclorus , Johannes . Terminorum musicae diffinirorillm. 1495. In
NUmberg.I643. Scriptorum de mmica medii aevi. ed. Charles Edmond Henri de
Janovka. TomM. C/avis ad ThesQllrum magl/ae ortis nll/sieae. Prague, 170 I . Coussemaker. volA . Paris. 1876.
Facs. ed. Amsterdam : F. Knuf. 1973. Vogt, Mauritius. Conclave thesauri magnae arli$ mllsicae. Prague, 1719.
Kircher, Athanasius. Musllrgia Uniwrsalis s;l'e ars magna consoni et Walther, Elias. Dissertalio musiea. TUbingen. 1664.
dissoni, Rome. 1650. Facs. ed. Hildesheim: Olms, 1970. Walther. Johann G. Mlisicalisches Lexicoll. Leipzig, 1732. Facs. ed. Kassel :
Krause, Christian. Von der musikalischen Poesie. Berlin. 1752. B5renreiler, 1967.
Kuhnau, Johann. Mlls icalische Vorstellung einiger Biblischer Historien. _ _~. Praecepta der mmiealischen Composition. Ms 1708. New ed. Ed.
Leipzig, 1700. New ed. Ed. K. Stone. New York: Braude Br., 1953. P. Benary. Leipzig: Breitkopf & Hartel, 1955.
Lippius. Johannes. Disputalio mllsiea lerlia. Willenberg, 1610. Werckmeisler, Andreas. Cribrum musicllm oder nlllsicalisches Sieb.
- - -. Synopsis nll/sieae nova. Strassburg, 1612; Synopsis o/New Mlisie. Quedlinburg, 1700. Facs . ed. Hyponmemata musica lind andere Schrif
Trans. Benito Rivera. Colorado Springs: Colorado College Music Press, len. Hildesheim: Olms. 1970.
1977. _ _~. Harmonologia musica. FrankfurtlLeipzig. 1702. Facs. ed. Hypom-
Lislenius, Nikolaus. RI/dimenta n",sicae planae. Witlenberg. 1533. nemata musica und andere Schriften. Hildesheim: Olms. 1970.
Lossius, Lukas. Erotemata ml/sieae practieae. NUmberg, 1563. _ _ _ . Mllsicae mathematicae HOOegus cllriosus. Frankfurt/Leipzig, 1686.
Marpurg, Friedrich. Krilische Briefe tiber die TonkwlSf. Berlin, 1760-64. _ _ ~. Musica/ische Paradoxal-Discour.se. Quedlinburg, 1707. Facs. ed.
Facs. ed. Hildeshei m: Olms, 1974. Hypomllemata nil/s ica lind andere Schriftell. Hildesheim: Olms, 1970.
Mattheson, Johann . Cd/iea musica. Hamburg, 1722-25. Facs. ed. Amster- _ _ ~. MII$icalisches Send-Schreibell. Quedlinburg, 1700.
dam : F. Knur, 1964. Zarlino, Giuseppe. Le institution; harmol1iche. Venice. 1558. Facs. ed.
--~. Das nell-er(JjJnele Oreheslre. Hamburg. 17\3. Ridgewood NJ: Gregg, 1966.
- -- . Der vollkommene Capel/meisler. Hamburg, 1739. Facs. ed. Kassel:
Bl1renreiter. 1954.
Morely. Thomas. A Plaine and Emie InlrOOllclio" 10 Praeticall Musieke . D. SECONDARY MUSICAL S OURCES
London, 1597. New ed. Ed. R. A. Harman. New York: Nonon, 1952.
Nucius, Johannes. Musices poelieae s;l'e de composilione camus. Niesse. Bartel. Dietrich. Handbuch der musika/ischen Figurenlehre. Regensburg:
1613. Facs. ed. Kassel : Barenreiler. 1976.
Laaber,1985.
Praelorius, Michael. Syntagma musicllm Ill. WolffenbUuel : Holwein, 1619. Benary. Peter. Die deutsche Kompositions!ehre des 18. Jal!rhllllde/(s .
Facs. ed. Kassel: Dl1renreiter, 1958, 1978.
Leipzig: Breitkopf & Hanel , 1961. . .
Printz, Wo lfgang C. Phrynis Mytilenaells oder Salyrischer Componist. or
Benitez, Vincent. " Musical-Rhetorical Figures in the Orgelbtlchlem J. S.
Dresden/Leipzig, 1696.
Bach ." Bach 18 (1987): 3-21. .
Quantz, Johann . Verslich einer Al1Il'eislIIJK die F/(Jle Iraversiere zu spielen. Bianconi , Lorenzo. Mllsic in the Seventeenlh Cellfllry. Trans. DaVid Bryant.
Berlin, 1752, 1789. Facs. ed. Kassel: Bl1renreiler. 1953. Cambridge: Cambridge University Press, 1987.
Rhaw. Georg. EnchiridiOIl m/ISices. Leipzig, 1518. Facs. ed. Kassel : BHren- Blume. friedric h. Renaissance and Baroque Music. New York: Norton,
rdter.1951.
1967 ,
 462 Bibliography Bibliography 463

Bonds, Mark ,Evan. Wor,dless Rhetoric: Musical Form and the Metaphor of Kassel: Barenreiter. 1953. 135-38.
the OratIon. Cambndge MA: Harvard University Press. 1991. Dammrum, Rolf. Der MusikbegrifJim delllschen Boracic. 2nd ed. Regens-
Brandes, Heinz. Studien zur musikalischen Figurenlehre im 16. Jokr- burg: Laaber. 1984.
hundert. Berlin: Triltsch & Huther. 1935. Eggebrecht. Hans Heinrich . Studien ZIIr ml/sikalischen Termin%gie. 2nd
Brown, Leslie E. "Oratorical Thought and the Tragedie Lyrique: A Consid- ed. Mainz: Verlag der Akademie der Wissenschaft und der Literatur,
eration of Musical-Rhetorical Figures." College Music Symposium 20 1968.
(1980),99-116. _ _ _ . "Ober Bachs geschichtlichen Ort." In Johann Sebastian Bach.
Buelow, George J. "In Defence of 1. A. Scheibe against J, S. Bach." Pro- Wege der Forschung 170. Dannstadt Wissenschaftliche Buchgesell-
ceedings althe Royal Musical Association 101 (1974-75): 85. schaft, 1970. 247-89.
- - - , "Johann Mattheson and the invention of the Affektenlehre." In New _ __ . "Walthers Musikalisches Lexikon in seinen tenninologischen
Mattheson Studies, ed. G. Buelow and H. J. Marx. Cambridge: Cam. Partien. " Acta Mllsicologia 29 (1957): 10-27.
bridge University Press, 1983. _ __ . "Zum Figur-Begriff der Musica poetica.' Archiv for Musik-
- - - , "The Loci Topic; and Affect in Late Baroque Music: Heinichen's wissenschafl16 ( 1959): 57-69.
Practical Demonstration." Music Review 27 (1966): 161-76. Federhofer, Helmut. "Christoph Bernhards Figurenlehre und die Dis-
- --. "Music, Rhetoric, and the Concept of the Affections: A Selective sonanz." Musiliforschung 42 (1989): 110-27.
Bibliography." NOTES 30 (1973): 250-59. _ _ _ . "Der strenge und freie Salz und sein Verhaltnis zur Kompositions-
- - - . "Rhetoric and Music." In The New Grove Dictionary of Music and lehre von Heinrich Schiltz in der Fassung seines Schi.ilers Christoph
Musicians, ed. Stanley Sadie. London: Macmillan, 1980. Bernhard." In Beitrage zur Mllsikali.tchen Gestaltanalyse. Graz: Akade-
- - - . "Teaching Seventeenth-Century Concepts of Musical Form and mische Dl1.Ick- u. Verlagsanstalt, 1950.
Expression: An Aspect of Baroque Music." College Music Symposium _ _ _ . "Die Figurenlehre nach Christoph Bernhard und die Dissonanz-
27 (1987), 1-13. behandlung in Werken von Heinrich Schutz." In Bericht iiber den
- - - . Thorough-Bass Accompaniment according to Johann David MlIsikwissenschafilichen Kongress Bamberg. Kassel: Barenreiter, 1953.
Heinichen. Rev. ed. Ann Arbor: UMI Research Press, 1986. Federl, Ekkehard. "Der Tractatus Musicus des Pater Meinrad Spiess
Buszin, Walter. Luther on Music. Pamphlet Series, no.3 . Saint Paul MA: (1683-1761 )." In Festschrift Bruno Stable in. Kassel: Barenreiter, 1967.
Lutheran Society for Worship, Music and the Arts, 1958. Originally Feldmann, Fritz. "Das 'Opusculum biparitum' des Joachim Thuringus
published in Musical Quarterly 32 (1946). (1625) besonders in seinen Beziehungen Zll Joh. Nucius (1613)." Archiv
Butler, Gregory. "The Fantasia as Musicallmage." Musical Quarterly 60 far Musikwissenschafi 15 (1958): 123-42.
( 1974),602-15. - - - . " Mattheson und die Rhetorik ." In Kongress-Bericht. lntemationaler
- -- . "Fugue and Rhetoric." Journal of Music Theory 21 (1977): 49-109. Musikwissenschaftlicher Kongress: Hamburg, 1956.
- - -.. "Music and Rhetoric in Early Seventeenth-Century English Fiebig, Folkert. "Christoph Bernhard und der stile moderno: Unter-
Sources." Musical Quarterly 66 (1980): 53-64. suchungen zu ~ben und Werk." In Hamburger Bei/rage zur Musilc-
Calm, Peter. "Retardatio, ritardando." In Handw(jrterbuch der musikalischen wissenschafi 22. Hamburg: Wagner, 1980.
Terminologie. Wiesbaden: F. Steiner, 1972-. Forchert, Arno. "Musik und Rhetorik im Barock.' Schlitz Jahrbuch 7-8
- - - . "Transitus." In Handw(jrterbuch der musikalischen Terminologie. (1985-86),5-2l.
Wiesbaden: F . Steiner, 1972-. Gottert, Karl-Heinz. " Musik und Rhetorik: Eine wandlungsreiche Bezie-
Clerx, Suzanne. " Le 'Baroque ' Musical." Les Cofloques de Wegimont 4. hung." Concerto 20 ( 1988): 12-20.
Paris: Societe d'editions "Les Belles Leures," 1963. Greene, J. W. "Musical Rhetoric." Diapason 72 (1981): 6.
Dahlhaus, Carl. "Bach und der Zerfall der musikalischen Figurenlehre." Gurlitt, Wil1ibald. "Musik und Rhetorik." Helicon 5 (1944): 67- 86.
MUSICA 42 (1988): 137-40. Harrison, Daniel. "Rhetoric and Fugue: An Analytical Application." Ml/sic
- -- . "Christoph Bernhard und die Theorie der modalen Imitation." Theory Spectrllm 12 ( 1990): 1-49.
Archiv for Musikwissenschafl21 (1964): 45-59. Hilse, Walter. "The Treatises of Christoph Bernhard:' In Music Forum,
- - - . "Die Figurae superficiales in den Traktaten Christoph Bernhards." vo!.), ed. William Mitchel1 and Felix Selzer. New York: Columbia
In Bericht uber den Musikwissenschafllichen Kongress Bamberg. University Press, \973.
464 Bibliography 465

Hoffinann-Axthelm. D. " Faburdon I fauxbourdon I falso bordone." In Ruhnke. Martin. Joachim Bu.rmeister: Ein Bei/rag zu.r Musilelehre 11m 1600.
HOlldw6rlerbuch de,. n1l1sikalischen Termin%gie. Wiesbaden : F. Kassel : aatenreiter, 1955.
Steiner, 1972-. Schering, Arnold. "Die Lehre von den musikalischen Figuren." Kirchen-
Johnston. Gregory. " Musical-Rhetorical Prosopopoeia and the Animation of musilcalisches lahrbllch 21 ( 1908): 106-14.
the Dead in Seventeenth-Cenlury Gemtan Funeral Music," COlladian Schmitz, Arnold. Die Bildlichleeit in der wortgebundenen Musile l . S. Bachf.
University Music Review 10 (1990): 12-39. Mainz: Schott, 1950.
Kirkendale, Ursula. -'The Source for Bach's MII.fical Offerillg: The Instillltia ___ . "Figuren, musikalisch-rhetorische:' In MflSile in Geschichte I/Ild
oratoria of Quinlilian." JOI//'IIo/ a/the Americall Mllsic%gical Socier), Gegenwart. Kassel : Barenreiter, 1949. 4: 176-83.
33 (1980), 8S-111. _ __ . "Die FigW'eD.lehre in den theoretischen Werken Johann Gottfried
Kirkendale, Warren. "Cireliialio-Tradition. Maria Lacrans. and Josquin as Walthers." Archiv fiJr Musilcwissenschaji 9 (1952): 79-100.
Musical Orator." Acta Mu.vicologica 56 (1984): 69- 92. ___ . "Die oratorische Kunst J. S. Bachs-Grundfragen und Grund-
Kretzschntar, Hennann. "AligeOleines und Besonderes zur Affektenlchre." lagen." In Kongress-Berichl . Zweiter Weltkongress der Musik-
Jahrbllch der Ml/SkbibUothek Pefers (1911): 63-77; (1912): 65-78. bibliotheken, LUneburg, 1950.
Krones. Hartmut. "Die Figurenlehre bei Bachs Amstvorgfulger Johann Serauky, Waller. "Affektenlehre." In Music in Geschichte lind Gegenwarl.
Georg Ahle," Osterreiclfische MIIsikzeilschri/t 40 (1985): 89-99. Kassel: Bllrenreiler, 1949. I : 113-21.
Le Hurny. Peter. Music and the Reformation in England 1549-/660. Cam- Sevier, Z. The Theoretical Works alld MI/Sic ofJ. G. Ahle. Ph.D. diss.,
bridge: Cambridge University Press, 1978. University of North Carolina, 1974.
Lenneberg, Hans. "Johann Mattheson on Affect and Rhetoric." Journalfor Sohngen, Oskar. Thealogie der MllSic. Kassel: Johannes Stauda Verlag,
Music Theory 2 (1958): 47- 84, 193-236. 1967.
Lester, Joe\. "The Recognition or Major and Minor Keys in German Theory: Steblin, Rita. A Hislory of Key Characteristics in the Eighteenth and Early
1680-1730:' lOl/rnal of Mlls ic Theory 22 (1978): 65- 103. Nineteenth Centuries. Ann Arbor: University or Michigan Press, 1983.
Massenkeil, Gi.lnther. " Die Wiederholungsfiguren in den Oratorien G. Toussaint, Georg. "Die Anwendung der musikalisch-rhetorischen figuren in
Carissim is," Archi\' for Mllsile'll'issensc/wji 13 (\956). den Werken von Heinrich SchUtz." Ph.D. diss., Mainz, 1950.
- - - . "Zur Frage der Di ssonanzbehandlung in der Musik des 17. Jahr- Unger, HansHeinrich. Die Beziehllngen zwischen Musile und Rhetorik im
hunderts." Les Co/loques de JVegimont 4. Pari s: Societe d'editions "Les 16.- 18. Jahrhundert. WUrzburg: Triltsch, 1941. Facs. ed. Hildesheim:
Belles Lettres," 1963. 15 1- 76. Olms, 1969.
Meier, Bernhard. rhe Modes ofC/auical Vocal Polyphony. New York: Vickers, Brian. "Figures of Rhetoric I Figures or Music?" Rhetorica 2
Broude Br.. 1988. (1984), 1-44.
Meyer. Siegfried. "Abweichungen von den Noonen eines Modus als Mittel Waite, William. "Bernhard Lamy, Rhetorician of the Passions.tl ln Studies in
der Wortausdeutung." MI/sico Disciplina 42 (1988): 199-215 . Eighteenth-Century Mus ic. London: Allen & Unwin, 1970.
Millier-Blattau, Joseph. Die Kompmitioll5lehre Heinrich Schiitzens in der Willhelm, 1. "Johann Adolph Scheibe: Gennan Musical Thought in Transi-
Fassllng seines ScMlers Chris toph Bernhard. Kassel: Biirenreiter, tion." Ph.D. diss., University of Illinois, 1963.
1963 . Williams, Peter. "Encounters with the Chromatic Fourth." Mus ical Times
Neumann, Frederick. Omamemotion in Baroql/e and Posl-Baroqlle MllSic. 126 ( 1985), 276-78, 339-43 .
Princeton: Princeton University Press, 1978. ___ . "Figurenlehre from Monteverdi to Wagner." Musica/rimes 120
Palisca, Claude. "Beginnings or Baroque Music: Its Roots in Sixteenth- (1979),476-79,571-73. 64S-50, 816-18.
Century Theory and Polemics." Ph.D. diss .. Harvard University. 1953. ___ . "Need Organists Pay Attention to Theorists of Rhetoric?" Diapasol1
- - - . Baroque Music. 3rd. ed. Englewood Cliffs NJ: Prentice Hall. 1991. 73 (1982), 3-4.
- - - . "UI Oratoria Musica: The Rhetorical Basis or Musical Mannerism."
In The Meaning of Manllerism. ed. F. Robinson and S. Nichols Jr.
Hanover NH: University Press or New England. 1972. 37-65.
Pilszynski. Judith. "The Evolvement of the Humoral Doctine." Medical
Times 92 ( 1964): 1009- 14.
 466 Indt:Jl 467

CIVlIII , 118 ellipsIS. 76. 11 6. 118, 133, 154, 164. 167,

c.elernas. 134,215.4 13-416. 420 195.203.205,245-252,304.311,
cercar dell, nota, 216. 385-387, 389 335.339.362, 392,399, 412, 417
chTla, 80, 81 elocullO, 23. 52, 66-68, 76-78, 8 1, 82, 88,
Cicero, xi, 66, 68, 204, 300 108, 109, 161 .239, 240,392
INDEX Clrculario,77, 108, 110. 121 . 126.216.217. Emplindsamkell. 27, 35, 89, 1]9,283
31' emphaSIS. 124. 130, 137. 14 1, 147, 153.
abruptio, 110,116, 118, 126, ]33, 147, 282,303,316,356,409 chm1\."(, 81 , 82, 98.101,105.107,110,116, 170. 151-2S S, 258, 339, 369. 370
[67.170,203,204.206,247,362, ars CIUlIUS, 20 124.126.130, 131 , 134,2 10, Enligh tenment. Vii, 25. 27, 56. 60, 89, 137,
363, 392, )93, " J 2 ascensUJ. 179, 180, 207, 223 22 0-224, 226, 230, 290, 340, 342, 155.156.158,161 , 164, 24 0
accentlls, 120, 121. 127, 128, 143, 147, assimilatio. 1]0, 126,207,208.298,308, 343,393 tp~molhoslS, 141
170-174, [76, 177, 192.19<1,236, 360 collceTvllrio, 229-23] epana dlpl om, 88, 130, 134, 225, 227,
238,252,25), )09, 369.370,386, asynddon, 124, 135,208,209,369.370, Cochco, 20 25S2S7
389,390,409, 427, 434,435 40S coloralura, 225, 235, 236. 238, 432-434, epan~lepSlS, 88, 124. 131 , 133, 134, 14 1,
aCCIIICClltura, 146, 176-178 AU8ustine. 3 1 43' 154, ] 83, 225227, B5-2S8, 260, 26].
actIO, 60, 63, 66-68 lUxes is, 70. 81, 98, 209-2 11 , 220, 221 , 3 12 commissura, 100.101, 104, 107. 126, 132, 3S 1. 369, 407
adjunctio, 263, 265 Bach, C P. E., 136, 156, 158, 244, 245 143, 225, 41 3-42 1. 424-4 26 ep-i\nodos, 124, 134.258-260
180~. 270, 27 1 Bach. ix , ]0, 41,53. 55,64,74, 122, 132, complex io, 95, 101.103,105, 107,134, epiphora, 209. 225. 259-261, 296, 299
Ah le, 85, 86, 122124, IlJ.l)4, 1)5, 140, 136, 144. 152,156-158, 160,179, 216.225228,255,257,394 epl~ellxls, 124, 133, 134, 1-1 1.154, ]91,
153,181 , 182, 185,188.209, 221, 237,250 confirmatio. 67, 68, 81 , 137. 229, 239 209. 263265, 40 7
223.257.258.260.261,263.264, Bacon, 61 . 62, 280 confulalio, 67, 68, 8 1, 137.1 42.197,229, Enlesli. )40, 346. 347
369,370, 40S, 407 Berardi, 80 m ethophonla. 130. 147.265,324.326,329,
anabasis, 77. 108, 110.1 16, 126, \31, 147, Bernhard, viii, 24, 57. 86,100, lOS, congeries, 70, 81. 98, 229-231, 230. 231 , 331,368
179,180, 207,214, 215, 313 111.118,132. 134,1 46,1 49,156, 273. 274, 396 ethos. S, 9, 31, 40. 414
anadip\(}Sis, 95, 91, 124,13 1. 133, 141, 167.172, 192,193,213,2 ]4,226, conscculion, 61, 220 exclalliRlio. 88,141. 153, 154, 245,
154, 180- 183, 255, 256, 258, 26 1, 2312)3 , 23S, 2-16, 248, 249, 269. consonanlllC impropriae, liS , 118, 231 , 265269, 313. 340, 348
339,342,343, lS I, 369 270, 2 78,279,28 1, 293,294,301, 232,384, 409 exordIUm, 61, 67. 68, 80-82, 108, 137, 229,
analepsis, 97, 183, \84 , 191. 325, 339 304.306,312-31-1,316,3 ] 7,320,327, contefUio, 81 , 198 m
anaphora, 95, 98, l OS, 107, 110, 124, 126, 332.336, 349,353,356-358,371_373, conmp05l1io, 199,200.233 expoli tlo, 142.239.282, 290,330, 344, 346
130, m , I33-135, 140, 141 , 147, 375,381 , 385.387, 398,399,401, conversio, 260, 261 extenslO, 116. 118. 269-271, 306, 333,
IS4, 183 190, 199, 225,251, 326, 402, 415, 417, -122, -123,427,433-435 copulatio, 190. 191 , 277,283 336-338.371
343,368,375, 407 Boethius, xi, 11, 19 cona, 120, 121 , 135, 234, 318, 393, 394 falso bordCHle, 127, 131. 271- 273, 275277,
anaploce, 98, 190, 191, 277, 339 bombus, 212, 213, 234 Cranmer. 62 36S.367
anaslrophe, 192,298-300 Burmeister, viii, 10. 20, 23, oil, 42, 5 I, 57, cumulus, 231 raux bOilldon, 98, lOS, 127. 13 1, 215,230,
Anonymous ofBesan~on, 60, 190, 277, 61,65.75 77.80,8 1,83-85,93.99, dccoratio, 52,68,78, 137, 139, 140, 170, 271 275,277. 365, 384
278,283 101.105,107, 108,110, 11 3, 129, 186, 2&3. 326 figmae c~ntiol1es, 121, 137, 138, 142
antanaclasis, 183, 2S1, 262, 3S I, 369 131, ISO, ] 56, 167, 181185, 187, delicio, 249 figuraec8l1 tus, 121, 137, 138, 142. I S3
AIIticipatio, 115, 118, 149, 192194, 371, 191 , 197. 201. 202, 20S, 209-211 , deminutio, 234, 413 figurae dicllonis, 72, 97,98,140, 141,374
375, 377, 38S, 386, 390, 417 220-222. 225227, 23 1, 246, 272-274, Descancs, 37, IS7 fi gurilC' rundamenlales, 100, lOS, 117, 133,
antimetabole, 195,299 277.279,283-285,295,298,300,304, descensus, 110,214.215,235 279.398, 41 7
AIItistaechon, 130, 147, 195, 196, 246 305,307 310.322. 325.327.328, dlabasls. 235. 3 19. 320 figurae Idealcs. 24. 52. 85, 121, 124,
anllstrophe, 81 , 197, 260, 26] , 281 , 299 339--345, .l4 7, 3-18. 353-355, 359-363, dimmmio, 235238. 29 1. 326. 33 1. 128130. 138. 147. 148.217. 252,
antithesis, 55, 81,I24,I 29,137, I47 , IS4, 365-367, 373,395,397,399,400, -1 32-434, 436. 437, 436. 437 266.309.350,360.393
193,195-200, 233, 375, 397 41 5,4 16,418 disjlOSltio, 23, 52, 63, 66-68. 76, 77. 80, 81 , ligUlae mmus pri nclpales. 85, 100, 10 1.
antitheton, 110, 126, 130, 13 1, 197 199, Bmler, Ch, 61 , 185,220,281,299 88, 108.109. 137,139, 160,186,239. ]04, lOS. 107. 126,279, 280,360,
350 cadentil duriuS(;ula, 213, 357 240,319,326.390.406.4 14 397.398
apocope, 97,105,107,201 , 202,278,342 Caldenbach. 111,458 dlstribullO, 8 1, 142, 154. 16 1,239241 , fi8ulae pllilcipales, 85.1 00, ]01. 104, 107,
aposiopesis, 98,105,107,131 , 141,147, Calvin, 3 243,282, 287,288.290,301,330, 118. 126.133.1 38.142. ]43. 1-18,
154,167,202-206,246, 247,260, cantor, 11,12 406 162.279.288.305,397.399. 416
295-297,339,362,363, 378,392, Carissimi, 112, ] 18. 327 Dressler. 20. 75, 10 1, 104 , lOS, 108.277, figulae sententlaTum, 14 1, 146
393, 4 12 catabasis, 77, 108, 1]0, 116, 126,131, 147, 278,348,362.396. 4 15 figulae si mplICes. xi , xiii. xiv. 78. 98. 121,
apostrophe, 141, I 54 21 -1 , 2 1S, 235, 313, 357 dubillllO, 15 I, 154, 164,242-244, 390-392 127,128.130,138, 143.1 46-1 4 8,
apotomia, 13, 130,206,226 catacllresis, l OS, 107,2 15, 230,271, ccphonesis, 245, 265, 268 189. 217. 234. 236, 252, 3 18, 378,
aria, 53-55. 81 , l IS, 162, 186, ]90, 24 1, 273276 elabolatio, 52, 137 383, 409. 43 2,433, 438
468 Illdex Index 469
filurlle superficiales. 100, lOS. 117, 133, 360,361. 312, 409 15B-16O, 110, 171 , 114, 171, 17B, 9B-105, 107. ]10, 113, 142, 167, 179,
398,411 Idea mU5ic~ , 129, 309, 311 181, lB), ISS, 189, 199,217,219, 1115,187, IS8, 210, 216, 220, 221 ,
Florentme Camerata. 60 ,mltatio. 3S. 63. 66.141.236,289,311. 239,2S2,2S3,2S1,2SB,261,263, 22), 226,228,257, 260,279,285,
Forkel, 24,60, 88, 89, 142. 156- 164, 185. 324, 326.327.329-33 1, 343.346, 265. 266,26B,281,282,289-292, 295,29(;,308,344-346,359,397,
190, 198, 200, 221 , 224, 240. 241. 368. 406 309,313,314,319,326,327,330, 400,415, 416, 419
24), 244,247,250, 251, 262, 282, inchoauo Imperi"Ktl. 118, 232, 311 , 312. 344, 348-35 I, 36&, 369, 372314. 378, octoe<:hoi,40
JOI , )O),lSO,lS2,J90.392,406. m 405-407,409, 411 , ,(14, 426, 428, Olthoff, 98, 99, 226
407 mcrnnen tum, 10, 81 , 209-211, 220, 222, 431,431 onomalopoeia, 163
fuga, 61. 97, 98,100, 101,104, 107, liD, m Melanchthon, S8, 65, 66 omatus. 61, 68, 33-85, 88, 94, 96.100,102,
126, 1l2, 187, 197.201. 202, 216, intetlKllo.241 memoria, 63, 66-68 109,113,118,123, 134, 110,191,
239,259.277-289, 298-300, lOS. imenogatio, 116, 141 , 153. 154.204,266. Menantes, 83 306,411
321-32S, 338, 344, 341, ]48, 368, 268, 312-314. 31 6, 348, 393 rnessanza, 120, 128, 146,3 18,3 19, 331, palilogia, 1113, 1115, 1117,2111, 336, 342-344
31), 391399, 417 mventlo. 23. 52, 66-68, 16--78. 80. 88,108. 383, 438 paradoxus, 141
Gililri, 59. 60 109, 128. 131. 160,239,330.405. metabasis, 130, 141,235, 293,3 19,320, parlgoge, 82, 105, 107, 318, 344346, 390
Qalliculus, 1$ 406 350,413,414 parllepsis, 141
Glareanus, 41 isobBtUS. 121. 131.273-276,366.367 metalepsis, 91, 201, 278, 321 324, 427 parmi bole, 321, 346, 347
Oonsched,lIiu. 72. 73. 83. 86, ]41 , 148, Janovka. 52, 86. 100. 105. 125127, 131, metonymil,3oo parenthesis, 266, 293, 301, 320, 348, 349
149, 154, 181 , 182, 185,1 86.191 . 134. 135, 169, 170. 179, 180. 185. mimesis, 35, 66, 75, 97, 100, 142, 180-184, paronomasia, 81, 129, 130, 141, 154, 183,
198, 203, 20S, 209. 220, 222, 188, 197,199,207,208,215211, 188,237,239,265,217,279,282, 185, 186, 189, 190,236, 258, 262,
225227. 231, 240, 241, 243, 245, 223, 226, 228. 273. 215, 279, 288, 290, 3 11,324-326, 328-33 I, 339, 343, 350-352,369
246, 248, 257261 ,264, 267,296, 295,297.299.301,302,345, 364, 368,372,406 panllesia, 98,107,140,141,305,316,335,
302, 306, 310, 314, 322, 328, )51, 365.367,394.397,398,402,433, misticanza, 146, 319, 331, 438 352357,359
)54 ,366,369, )70, 390, 391, 407 435, 436 monochord, 12, 13 PISSI88io. 356,426,432-431
gradalio, 81. 116, 154,210,220-224,290, Kantor, 12,62,14,16.93,99,106,112, Monteverdi, 63, 86, 118, 122, 321, 357, 427 pasSU! duriusculu5, 115, 118, 214, 357,
313,393,420 119,122,157,226 1I1Of1I, 116, 118, 332, 37S, 399 358,38 1
grappa, 120. 123, 128, 143.146, 217, 219, Kircher, 24, 34, 36, 41 , 43, 44. 4850,52, Morely, 39, 299 plthopoeill, 23, 51,96-98, 129, 305, 308,
236. 290-293, 318, 319, 383, 438 76,77,85, 86, 100, 102, 105111, multiplicatio, 115, 118, 133, 230, 210, 309,335, 3S4, 357-361, 372
Heinichen, 26, 43, 4 5,51,53,78.19, 144. 113,1 19,121,125127, 129, 131. 332-334,37 1,399,417, 42 3,434 PIUSa, IDS, 107, 110, 126, 167, 169, 203,
115-178 133, 144,148,161, 168,179,180. musica artificillis, 18 205, 247, 249, 295297, 3 13, 348,
Herbst, xlii, 20, 23, 24. 29. 4 1-44, 49. 5 I . 185, 188,197,199, 207,208,210, musica humana, 1 I, 16, 18 362365, 392, 393, 412
n. 64, 122,203,246.305, 3n, 353. 21 4-217, 223, 226--228, 260, 273, 275, musicainstrurnentalis, 11, 12, 16, 18 Peacham, Henry the Elder, 70, 130, 186,
356,415, 427 279,287 , 288, 29S-297, 308, 313, musicamundana, 11,15, 18 225,227,239,263,264,280,
hetC:l'olepsis.87, 116, 118, 133, 293, 29~ . 359,360,363,364,366,367,393, musica pathetiCI, 36, 111 2911300,342,3 43,359.361,368
301,320,348.349.38 1.399. 41 7 391, 398,400,412,415, 416, 420 musica poetiCl, x, xi, 9,10, 19-23,26-28, Peacham, Henry the Younger, 18S, 281 ,
Heydtn, 15 Kuhnau, 25, 26. 41-43. 45, 136 30.4 1,43, 44, 49, SI, 57,58,6265 , 299.360
Hippocrates. 36 k}klosis, 110,2 16, 217, 3 16 61,73,74,76,77,80,82,86-89, peroratio. 61, 6&, 82, 137
Hoffmann, 76, 246. 211. 304, 335 Lamy, 149, 267 94-99,106,1 11 ,1 19-121 , 132, 139, phantasta, 18, 128, 383, 436
Halthauser, 7S Lrlbnil~, 11 144,154-158,179, 182, 184, 181, pleonasmus, 98, 127, 131, 154,273276,
homoioptocon, 110, 126, 161,203,260, lice'mia, 246, 276, 305, 316, 33S, 352356 191, 202, 203, 205, 21 I, 220, 222, 304,365367
295291, 312, 313, 363, 392, 412 ligatura, 11 7, 118, 132, 155,3 16, 390, 396, 226,229,231,252,253,266,274, place, 141, 1113, 190, 191,258, 262, 277.
homoIOS I$, 108, 110,207.208.298.308. 398,401,402,404 219,284,285,298,300,304,305, 283,35],369
309, 360 Lippius, 41 , 415 3073 10,324,325,321,328,340-342, poetitum decorum, 96, 97
homoioteleuton, 167, 203.295,296,362. Listet1ius, 19, 20,348,362 344,345,347,354-358,360,361, polyptoton, 129131, 141, 183, 258, 262,
363.392.412 loci topici. viii, 53, 67, 68,7779,88, 14 5, 367,395,391,400,415,418 280,281,336,350,35 1,367369
hypaJ1Rlle, 81, 97, 192, 195. 191,201. 218. 160, 405 musica practica, 9, 11,19, 20,58 polysyndeton, 124, 131, 135,252,369, 370,
298-300,32 1.342,373
hyper baton. 154, 240, 293. 300-303, 319,
320.348, )49
Lossius, 66, 93
Luther, ix, 39, 22, 58
Machaul, 19
musica speculllivl, 9, 58, 15
musica theoretica, I 7] 9, 28
mutalio loni, 1] 5, 118, 232, 246, 281, 305,
'"
Prletorius, xiii , 47, 81 . 93, 235-231, 265,
267,273-275,353,427, 428,43 2, 4)4
hyperbole, 87, 98,171. 235, 246. 303307. Mancinel!us. 247, 253, 306, 369, 310,413 306,334336,353,373 Printl., xi, 25, 26, 86, 98, 119-121, 134,
316,335, 353 manubrium, 82. 105. 31 S. 344, 346 n.rratio,67,68,81 , 137 143,146,170,172,212,213,218,
hypobole. 98, 246, 303305, 307, 353, 359 Manheson. ViII, XI, 10,24,26.27,29,30, noem .. 96, 97, ]05, 107. 181 , 183, 184, 219, 234, n5, 291. 292, 3 I 8, "363,
hypotypoSlS. 23, 24, 17, 98. 108.1 10,116, 3~ , 40. 42, 4 5, 47, 48,50,53,60,63, 190,191,209,210,227,265, 364,379.380,382,383,393,394.
128.129.154,164,179,196.207. 77.7981.86,98,112,119,121.122, 324-326,328,339342,3S9 409,427,4 29. 431-433,435
208, 214 , 216, 307-311. 3 13, 350. 136--1 41 , 140-146, 148, ISO, 153, 154, NUCIUS, viii, 23, 24, 51, 11, 82, 84, 85, pl'olepsis, 193, 311
470 Indu ludex 471

prolonaatio. lIS, 118, 132, 270, 371, 372, seetio, 384, 413 416,418420, 425 trll.nsumpt io, 321, 322, 427
399, 417 Seifert, 117 symploce, 9S, 11 0, 225-228, 227, 228, 2S7 , tremQlo, 120, 123, 143,212, 427-431
pronundauo. 60, 66-68, 139, 170 Senft, 4, 7 39' Ir illo, 120, 143, 146, 212, 213,291. 378,
propositlo, 67, 6$, 81 , 117, 160, 240 sexl. superl1ua, 116, 1\8, 232, 2)3, 384 synaeresIS, 131 , 390, 394397, 399 379, 427-431
prOSOrlomasia, 129. 130. )SO Simonius, 98, 99 synathroismus, 229, 230, 396 lIi"illm, 12, 18, 19, 27, 28,65
prosopopoeIa, 107, 108, 128, 129, 154, )08, simul procedenlia, 230, 271, 272, 274, 384 syncopatio, 101, 104, lOS, 107, 115,1 18, V/LflallO , 11 5, 118, 120, 121, 128, 133, 146,
309,324,350.360, 361,372 Speer, 24, 203, 204, 308 126, 132, ISS, 111 , 193, 232, 248, 149,225,235,236,333,356,379,
quadrivium. 12. 19 Spie!;s, XL, 29, 121 , 122,13 1, 144_148, 167, 270, 277, 283,305,3 16, 332))4, 41 7, 432-438
quaesmo notae, I is, 118. 193, 232, 372, 170, 175,176, 178- 180, 185, 190, 353,371,372,)75,376,)87,390, Vog1, XI , 24, 29,52, 78, 85, 98, 121 , 122,
385,386 193-197, 200, 20), 206,215,21', 396, 398-404, 413, 417, 422 \24 , 127-IlI, 134, 138, 144, 146-148,
quasi transitus, 1)3. )72 219, 234, 236, 238,252,255, 257, synonymia, 124, 133, 135, 154, 209, 229, 167 , 169, 1 7~ 182 , 185, 188 , 1 9S-197,
Quintilian. xiii, ) I, 66, 68-7 1, 73. I 09, 191 , 292, ) 19, 320, 326, 327, 33 1, )32, 230, 369, 405-407 199,204-206,215,217,218,223,
193, ]98. 204, 209, 210, 220,222. 368, )72, 375, 377-)79, 409, 411-413, tautology, 257 227, 234, 236, 252,253, 255-258,
229.230.2)5, 231,243, 245,247, 4)2, 4)8 temperament, 16,36, )7. 39, 43, 45, 46, SO, 266, 268, 272,273, 276,309,3 11,
25), 256, 257,259, 267, 274,277, spiritus animlllis, 37, 3& 53, S4 ) ]9,320, ) 26, 329,33 1,350,360,
296.298.300.30 1,306,309,)1 4, stenasmus, liD, 121, 167,296,363,385, tenuta, 143. 146,378,379, 408,438 36S, 367-370, 382-384, 394, 396, 412,
321 , 326, 327. ) 40, )46, 347, 349, 392-394 tertia deficiens, 116, 118,232,2)3,409 413, 428, 430, 432, 436, 438
351,354,365, 366,370, 390,406, stile concitato, 50 ThUfll1gUS, VIii, 24, 51, 82, 84, 8S , 100- 105, VOSSLUS, 67, 322
41' Stoics, 31 107,110, 11 3, m-llS, 167, 185, Walther, Elias , II I
u:dundanlia. 16, 304, 33S Stomius, 75, 100,277,278,28),325,328 188,20 1,202, 20S, 220, 221 , 223, Wallher, "iii, XL, 10, 15, 17, 20,22, 26, 54,
redupHcatio, 181 , 183. 25S. 256, 343 stylus .l1tiquuI, 114 226-228,257,273,275,279, 286, 85,100,105,112,119,124,131 - 135,
refratlio . 373, 374 stylus communis, 115 295297,304,305,308, ]13, 325, 138, 144, 146, 148,155, 167-170,
repercussio, 281, 299, 335, 372-374, 379, stylus cubicularis, 11 6 329,339,342, 34S, )46, 354-356, 172-174,177-181,183-185,189,
'06 slylusgravis, 85, 116, 118, 172, 213,231, 359, 360, 362-364, 397, 398, 400, 192-194, !97, 199,201, 202, 205-207,
repetitio, 100, 101, 104, 10S,IIO, 154, 327,371, 417, 448 415, 4 16,420 209, 211-218, 221. 224, 226-228,
184189,226,227.257. H8, 262-264, stylus luxurians, 115, 116, 118,270,281, Til1ctoris, 46, 100, 278 234-23 8, 245, 249, 255-26 1, 263, 265,
283, 287, 288,313,325,329,343, 305, )06, 327, 3l5, lS3, 371 , 381 tirata, 120, 121, 123, 127, 128, 14 3, 146, 266,268,271,276,277,280,288,
)51 ,J75 stylus mixtus, 145 236,238,383,409-412,434, 435, 290-295, 297, 299, 318,326, 329,
resumptiQ, 2S7 , 2SS stylusmodemus, liS, 117 437, 438 331, 333, 334, 336, 338, 339,
retardalio, 133, ]47, ]49, ]93, 332, 375, stylus recitalivus, 23, 109, 115117, 119, tmesis, 130, 147, 167,201,203,247, )62, 342-)46,354,356,363,365, 368,
376, 315-)77, )90 167, 169, 170, 371 , 3&1 , 423, 424 384,392, 393, 412, 413 369, 372, 373, 375, 376, 380,386,
relleenti .. 204, 205, 378 stylus theatralis, 23, 24, 34, J I 5-117, 226, traduction, 62, 280 389,393, 394,398,399, 402, 403,
reverber.uo, )7) , )74 232,2)3,246,270, 3 13, 417 \WIsgrcssio, 302, 3 19, 320, 413 405, 407, 409-411 , 416, 424, 425,
Rhau, 4, )48, )62 submutltio, 298, )00 transilio, 319, )20 428,430, 433, 436
ribatlul.. 14), 146, )72, 378, )79, 408, 438 subsumptio, 1)3, 193,2 16,385_389 transitus , 87, 115-118, 132-134, 14 3, 155, Wel~, Ch , 67, 83
Rossi, 118,327 suTtc, 47 171,204, 213, 215, 225, 23 1, 234, Wnckmel5ter, 14-17, 20, 2 1, 28, 29, 33. 38,
Ruulus, 261 superjectio, 115, 118, 133, 146, 147, 246, 248, 249, 270, 293, 294, ) 19, 39, 47, 49, 56, 64, 131, 243, 276
saito semplice, 120, 3&0 170- 172, 174, 176,390,399, 4 17 333, 334, 353. 354, 370-372, 38 1, Wolff. Ch ,48
s.llUs duriusculus, II 5, 118, 232, 357, 38 1 supplemenlutn, 105,344, )46, 390, 442, 387, 394, 398, 399, 413-418, 4224 21, ZaliLl1o, 31, 32, 41 , 74, 207
SClcdl1, !16, )27,414,415 443, 448, 449, 455,456 433, 434 ZwinglL, 3
Scarlan i, 5) Susenbroius, xiii, 70, 71, 73, 104, 171 , 181 ,
SchcLbe, viii, 24, )0, S7, 60, 86, 105, 141 , 185, 186, 19().193, 195, 196,201,
144, 148152,154156,IM, 185, 189, 204,208-21 1,220,222,227,229,
193, 194, 197,200,22 1,224,236, 230,235, 237, 240, 243, 245,247,
240,241,244,246,247,250, 252, 253,2S5-257, 259,26 I,263, 2M,
257,261 , 262,266,269,283,293, 267,274,277,295,296,298.300,
301,302, 312, 313, 316,332, 333, 302,306,309,31 4,320,322,339,
)49-351,375,377. 390, 391, 398, 340,343,345,352,354,361,)66,
404,417.426, 433, 437 369,370,395,399,413
Scheibel, 34 5usptnsio, 154, 164, )90--392
schemaloides, 81, 130, 236, 382384, 433 suspi ralio, 110, 121, 167, 203, 247, 362,
Sc hmidt, 80 363, 385, 392-)94, 412
SchOt%, viii, 74. Ill. 112, 117, 358 symblema, 96, 98, 134, 353, 354, 359, 365,
seGOl1dll. prattic., 74, 85, 114 367, 394, 397, 399, 400, 413, 41 5,