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The Musical Rhetoric of the Polish Baroque

The Musical Rhetoric of the Polish Baroque

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Tomasz Jasinski

This book looks at the rich means of text interpretation in seventeenth and eighteenth century Polish music, a relatively unknown phenomenon. The works of old Polish masters exhibit many ingenious and beautiful solutions in musical oration, which will appeal to wide circles of lovers and experts of old music. One of the fundamental components of baroque musical poetics was music-rhetorical figures, which were the main means of shaping expression – the base and quintessence of musical rhetoric. It was by means of figures that composers built the musical interpretation of a verbal text, developing pictorial, emphatic, onomatopoeic, symbolic, and allegorical structures that rendered emotions and meanings carried by the verbal level of a musical piece.
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Editorial Note

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Musical examples in the present book are quoted in original note values. If in the edition that is quoted, the note values have been diminished, we have reinstated their original values. In those cases where editions include Mensurstriche lines are printed in regular or irregular intervals, we have introduced regular barlines, usually at the distance of a brevis or semibrevis; consequently, the bar numbering in some examples can differ from the numbering adopted in score editions. Accidentals repeated within a bar have been omitted where they were printed in the source edition. Accidentals printed in editions in brackets next to a note or above it have been reproduced next to the note with brackets omitted. The same treatment was applied to occasional musical and verbal text amends by editors. If the source edition maintains the original clefs, these have been changed into modern clefs. Voice names or other indications lacking in the source editions have been occasionally introduced in brackets. Musical examples present either the entire vocal structure or just selected voices. In the latter case, we always indicate which voices are quoted. The examples listed in the Catalogue of Figures are numbered separately in brackets.

Musical examples are quoted from various publications. The majority comes from editions whose title is identical to the title of the composition: numbers 1, 3A, 6, 17A, 17E, 18A, 18D, 19A, 19C, 20B, 21, 24–25, 27, 29A, 30–31, 32A–B, 34–36, 38–39, 44, 47, 49, 51,...

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