‘Mutato semper habitu’: Heinrich Schütz and the Culture of Rhetoric
Identifieur interne : 000002 ( Main/Corpus ); précédent : 000001; suivant : 000003‘Mutato semper habitu’: Heinrich Schütz and the Culture of Rhetoric
Auteurs : Bettina VarwigSource :
- Music and Letters [ 0027-4224 ] ; 2009-05.
Abstract
This article proposes a fundamental reappraisal of the scope and significance of rhetoric in early seventeenth-century compositional theory and practice. Moving beyond the inherited conception of musical rhetoric as a hermeneutic tool to match musical gestures with specific affective meanings, it reconstructs the discipline as the dominant intellectual force it was, and situates early seventeenth-century German music and music theory within this wider cultural domain. The conceptual world of the German musica poetica theorists around 1600 was shaped in particular by rhetorical procedures for verbal composition first explored by Erasmus of Rotterdam, who defined and popularized pervasive creative paradigms of variation and amplification. Reading the compositional practice of Heinrich Schütz and his contemporaries against the background of such an Erasmian procedural approach opens up fresh perspectives on the structural intricacies and expressive potency of this repertory.
Url:
DOI: 10.1093/ml/gcn092
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Email: <email>bv239@cam.ac.uk</email>.</aff><author-notes><fn><p>All music examples are based on <italic>Heinrich Schütz, Neue Ausgabe sämtlicher Werke</italic> (Kassel, 1955–). Translations are mine unless otherwise stated.</p></fn></author-notes><pub-date pub-type="ppub"><month>5</month><year>2009</year></pub-date><pub-date pub-type="epub"><day>7</day><month>1</month><year>2009</year></pub-date><volume>90</volume><issue>2</issue><fpage>215</fpage><lpage>239</lpage><permissions><copyright-statement>© The Author (2009). Published by Oxford University Press. All rights reserved.</copyright-statement><copyright-year>2009</copyright-year></permissions><abstract><p>This article proposes a fundamental reappraisal of the scope and significance of rhetoric in early seventeenth-century compositional theory and practice. Moving beyond the inherited conception of musical rhetoric as a hermeneutic tool to match musical gestures with specific affective meanings, it reconstructs the discipline as the dominant intellectual force it was, and situates early seventeenth-century German music and music theory within this wider cultural domain. The conceptual world of the German <italic>musica poetica</italic> theorists around 1600 was shaped in particular by rhetorical procedures for verbal composition first explored by Erasmus of Rotterdam, who defined and popularized pervasive creative paradigms of variation and amplification. 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