Blake McDowell Wilson
As George Buelow has so correctly and eloquently argued, the principles of classical rhetoric and oratory permeate the musical culture of the Baroque more than any other era. Indeed, the establishment of music as an ars dicendi appears to largely define and drive the discussions and practical developments in music around 1600, from the question of the primacy of text in the Monteverdi-Artusi controversy to the most obvious musical manifestation of a stilus oratoricus in the advent of recitative style. Beginning with Joachim Burmeister Musica poetica of 1606, music theorists did not shrink from systematically applying the considerable technical arsenal of rhetorical figures to musical analysis and composition, and Burmeister's treatise anticipates an enduring tradition of Baroque Figurenlehre.1 But as____________________
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Publication information: Book title: Festa Musicologica:Essays in Honor of George J. Buelow. Contributors: Thomas J. Mathiesen - Editor, Benito V. Rivera - Editor. Publisher: Pendragon Press. Place of publication: Stuyvesant, NY. Publication year: 1995. Page number: 341.
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