Music and rhetoric

McCreless, Patrick

doi:10.1017/chol9780521623711.029

Cited by 24 publications

(11 citation statements)

References 4 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…In the process of it, between the 12 th and the 17 th centuries, the practice and theory of music composition elaborated the new method of deriving the musical material of a musical work from a musical theme-a relatively complete melodic pattern that can be recognized and remembered as representative of a work where it was used (P. Cooke, 2001). This theme-based compositional method closely resembles the principles of rhetoric composition, which served as prototype for musical rhetoric that remained a principal method of rendition of a music form from the 15 th to 19 th century (McCreless, 2002). Thus, Gioseffe Zarlino in his "Istituzioni armoniche," book III, (1558), named the dominance of the subject over the entire work as the primary compulsory condition in planning a musical composition-similar to the "subject" of poetry (Strunk & Treitler, 1998, p. 436).…”

Section: Is Music Cognition?mentioning

confidence: 99%

“…By no means this symbolic treatment in itself should be regarded as emotional: it is carefully planned, well executed according to rather strictly observed rules and organized very clearly, with the minimum required expressive means-according to the "science of music," an expression common in the 17-18 th centuries. The change of fashions by the 19 th century, when Baroque Affects were viewed as overly stiff and unnatural in representation of human feelings, did not mean abandoning rhetoric principles altogether (McCreless, 2002). Rather, rhetoric principles identified by Johann Mattheson, Johann Sulzer and Heinrich Koch became implemented in new music forms, as formulated in the fundamental "Lehre von der musikalischen Composition" (1837-47) in 4 volumes by Adolf Bernhard Marx (Marx & Burnham, 1997).…”

Section: Is Music Cognition?mentioning

confidence: 99%

See 1 more Smart Citation

Music Cognition from Birth to Adolescence: A Structuralist Approach

Nikolsky¹

2022

Preprint

View full text Add to dashboard Cite

This book draws a new perspective on music as a special form of cognition that provides growing children with the means to mediate their emotional state and attitude to suit their physical and social environment. My conclusions are based on new evidence coming from: 1) musicological analysis of the original and spontaneous vocalizations by children, selected to represent the milestones in the development of music cognition; 2) comprehensive research on "ear development" throughout early childhood, systematically conducted in the USSR/Russia on a large pool of subjects during the 1920-1980s; 3) data on music perception by people habituated to non-Western forms of music, including timbre-oriented music traditions of northeast Eurasia; and 4) research coming from Vygotskian school on sociogenesis and objectivization of musical sound in early childhood (published in Russian only). The principal objective of this book is to arm researchers and students with tools to analyze, interpret, and evaluate the patterns of tonal organization in children musicking - and to inter-relate these patterns to cross-cultural patterns of early verbal, social, and emotional development. Children’s musical cognition needs a thorough revision because of the old erroneous belief, still widespread amongst developmental psychologists, that the principles of Western tonality constitute a universal modus operandi, intuitively sought by children from birth. According to this view, early children’s musicking constitutes a “defective” implementation of adult’s music due to children’s deficiencies in vocal control and its coordination with hearing. In reality, early childhood musicking constitutes a peculiar type of music, different from adult’s music – very much like children’s early speech that follows its own principles, different from adult’s speech. The principles of children’s musicking ought to be inferred from the structural organization of their non-imitative attempts to make music - bottom-to-top (as opposed to the current "a priori" top-to-bottom method of describing children's music in terms of Western tonality). Some other important issues covered in this book are the goals of musical development in childhood, the issues of musical attrition, bimusicality, and normalcy of musical abilities, the modularity of musical hearing, and the relation between musical and real-life emotions.

show abstract

Section: Is Music Cognition?mentioning

confidence: 99%

Section: Is Music Cognition?mentioning

confidence: 99%

Music Cognition from Birth to Adolescence: A Structuralist Approach

Nikolsky¹

2022

Preprint

View full text Add to dashboard Cite

show abstract

“…One important consideration for choosing the Bach sonata is that baroque music is much more consistent in its emotional character than later art-music, as is captured by the historical concept of “unity of affection” (McCreless, 2002). That is, the baroque “doctrine of affections” ( Affektenlehre ), from 1650 to 1750, put value on pieces that maintained the same emotion, whereas listener tastes in the Classical era of Haydn, Mozart, and Beethoven preferred dramatic contrasts of emotion within movements (1750–1827).…”

Section: Music Analysismentioning

confidence: 99%

The effects of expert musical training on the perception of emotions in Bach’s Sonata for Unaccompanied Violin No. 1 in G Minor (BWV 1001).

Spitzer¹,

Coutinho²

2014

Psychomusicology: Music, Mind, and Brain

View full text Add to dashboard Cite

The focus of this paper is the relationship between musical emotion, as expressed by the composer and perceived by the listener, and the structural features of a work of art-music. First, we analysed a work by J. S. Bach for solo violin (Sonata for Unaccompanied Violin, No.1 in G Minor, BWV 1001), from the standpoint of how its structural features were associated with the expression of different emotional categories from the perspective of the composer and through the eyes and ears of the music analyst. We then constructed two empirical experiments to test whether contemporary listeners could identify the same emotions identified by the analysis, targeted at two groups of subjects: relatively inexperienced popular music students; and musicians, composers and music academics (including some of the world's leading Bach scholars). Our results suggest that: emotional attributions by low-level experts are led by surface acoustic features; those by high-expert listeners are led by both acoustic and formal features; that this applied much more to the emotions of Sadness and Tenderness rather than to Anger or Fear; and that despite the common confusion between Anger and Fear in real life, listeners were capable of differentiating these emotions in the music supporting analytical findings in the score.

show abstract

“…9 According to The Oxford English Dictionary, the term "counterpoint" was used in music as early as 1550, while the extra-musical usage of the term came later: in 1599, counterpoint was used to designate an antithesis, and in 1626, it was first used for a contrary point in an argument. On the relationship between music and rhetoric, see Patrick McCreless (2002). While polyphony is universal, Bakhtin developed the notion of polyphony with Bach in mind.…”

Section: Notesmentioning

confidence: 99%

Borrowed Forms

Lachman¹

2014

View full text Add to dashboard Cite

Typeset by Carnegie Book Production, Lancaster Printed and bound by Booksfactory.co.uk 4 Opera and the Limits of Representation in J. M. Coetzee's Disgrace Conclusion Notes Works Cited Index Contents Contents I cannot reduce my thoughts about life to the music of a single voice and a single point of view-I am, after all, a novelist.-Orhan Pamuk Borrowed Forms considers the impact of musical forms on late twentieth-century literature. The book looks closely at four musical concepts that have significantly influenced the novel and critical theory: polyphony, or the art of combining multiple, interdependent voices; counterpoint, the carefully regulated setting of one voice against another; variation, the virtuosic exploration of the diverse possibilities contained within a single theme; and opera, the dramatic setting of a story to a musical score. Although these musical forms took shape in the European Renaissance and Baroque, novelists have appropriated them as literary strategies because they open up alternative ways of conceiving relations among different subjectivities, histories, and positions, and provide a dynamic means to challenge and renew literary forms. In our cultural moment, novels circulate more widely than any other literary genre, and possess an exceptional plasticity that readily accommodates multiple perspectives, languages, styles, and registers. Not surprisingly, the novel has emerged as the privileged literary vehicle for expressing plurality and difference. How the novel reflects this increasingly transnational consciousness, and more precisely, how novelists and critics deploy musical forms to respond to new ethical and aesthetic demands, are among the principal questions this book addresses.

show abstract

Music and rhetoric

Cited by 24 publications

References 4 publications

Music Cognition from Birth to Adolescence: A Structuralist Approach

Music Cognition from Birth to Adolescence: A Structuralist Approach

The effects of expert musical training on the perception of emotions in Bach’s Sonata for Unaccompanied Violin No. 1 in G Minor (BWV 1001).

Borrowed Forms

Contact Info

Product

Resources

About