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The Application of Musico-Rhetorical Theory to Stretto, Double, and Triple Fugue: Analyses of Contrapuncti V-XI from J.S. Bach's The Art of the Fugue, BWV 1080

机译:修辞学理论在变奏曲,双重和三次赋格曲中的应用:来自J.S.的Contrapuncti V-XI分析巴赫的赋格艺术,BWV 1080

摘要

Analysis of Johann Sebastian Bach's (1685-1750) keyboard works and the study of fugue are often complemented by an understanding of Baroque rhetorical theory. In the Baroque Era, the principles of oration and argument established by Greek rhetoricians were thought of as analogous to musical ideas and forms. Notable Baroque theorists Joachim Burmeister (c. 1566-1629) and Johann Mattheson (1681-1764) related the fugal process to an active and elaborate discourse. They connected the basic parts of rhetorical disposition to fugue in an attempt to define and clarify its skeletal framework. While the concept of musico-rhetorical disposition schemes seems to be an attractive design for many Baroque theorists, it is difficult to apply such an analysis to stretto and double/triple fugues. This type of analysis sectionalizes the fugue in restrictive ways, linking particular musical techniques to different areas as would divide an oration. This document suggests that specific rhetorical figures do not need to be seen as fitting pre-set standard areas (e.g., propositio, confutatio, conclusio), but can derive from the context of each particular fugue, since they serve a prevailing musical function. Bach's stretto and double/triple fugues from The Art of the Fugue, BWV 1080 are particularly difficult masterpieces to comprehend, and there is little precedence for the application of rhetorical figures to fugues of these types. This document examines Contrapuncti V-XI from The Art of the Fugue, and can serve as a model for rhetorical analyses of complex fugal processes.
机译:约翰·塞巴斯蒂安·巴赫(Johann Sebastian Bach,1685-1750年)的键盘作品分析和赋格研究通常与对巴洛克修辞理论的理解相辅相成。在巴洛克时代,希腊修辞家确立的演说和辩论原则被认为类似于音乐思想和形式。著名的巴洛克理论家约阿希姆·布尔迈斯特(Joachim Burmeister,约1566-1629年)和约翰·马特森(Johann Mattheson,1681-1764年)将迷雾过程与活跃而详尽的话语联系起来。他们将修辞格的基本部分与赋格联系起来,试图定义和阐明其骨架。虽然音乐修辞处置方案的概念对于许多巴洛克理论家来说似乎是一个有吸引力的设计,但很难将这种分析应用于流浪者和双/三重河豚。这种类型的分析以限制性的方式对赋格曲进行了分段,将特定的音乐技术与不同的领域联系起来,从而划分了演说。该文件表明,特定的修辞不需要被视为适合预设的标准区域(例如,命题,孔形,结语),但是可以从每种特殊赋格的语境中得出,因为它们具有盛行的音乐功能。巴赫(Bach)的《赋格艺术》(The Art of the Fugue)中的流线型和双/三重河豚特别难于理解杰作,对于这些类型的河豚,将修辞格应用到其他领域几乎没有什么先例。本文档研究了《赋格艺术》中的Contrapuncti V-XI,并可作为对复杂的真菌形成过程进行修辞分析的模型。

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    Marney Dylan;

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  • 入库时间 2022-08-20 20:35:24

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