Details

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 A few historical references for classical rhetoric 28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

<p><strong>Patrick Saint-Dizier</strong>, Senior researcher at CNRS, Toulouse, France.

US