<p> The persuasive power of music is often relegated to the dimension of <i> pathos</i>: that which moves us emotionally. Yet, the music commodity is now situated in and around the liminal spaces of digitality. To think about how music functions, how it argues across media, and how it moves us, we must examine its material and immaterial realities as they present themselves to us and as we so create them. This dissertation rethinks the relationship between rhetoric and music by examining the creation, performance, and distribution of music in its material and immaterial forms to demonstrate its persuasive power. While both Plato and Aristotle understood music as a means to move men toward virtue, Aristotle tells us in his <i>Laws</i>, through the Athenian Stranger, that the very best kinds of music can help guide us to truth. From this starting point, I assess the historical problem of understanding the rhetorical potential of music as merely that which directs or imitates the emotions: that which "Soothes the savage breast," as William Congreve writes. By furthering work by Vickers and Farnsworth, who suggest that the Baroque fascination with applying rhetorical figures to musical figures is an insufficient framework for assessing the rhetorical potential of music, I demonstrate the gravity of musical persuasion in its political weight, in its violence--the subjective violence of musical torture at Guantanamo and the objective, ideological violence of music--and in what Jacques Attali calls the prophetic nature of music. I argue that music has a <i>significant function</i>, and as a non-discursive form of argumentation, works on us beyond affect. Moreover, with the emergence of digital music distribution and domestic digital recording technologies, the digital music commodity in its material and immaterial forms allows for ruptures in the former methods of musical composition, production, and distribution and in the political potential of music which Jacques Attali describes as being able to foresee new political realities. I thus suggest a new theoretical framework for thinking about rhetoric and music by expanding on Lloyd Bitzer's rhetorical situation, by offering the idea of "openings" to the existing exigence, audience, and constraints. The prophetic and rhetorical power of music in the aleatoric moment can help provide openings from which new exigencies can be conceived. We must, therefore, reconsider the role of rhetorical-musical composition for the citizen, not merely as a tool for entertainment or emotional persuasion, but as an arena for engaging with the political.</p>

This dissertation examines affect, rhetoric and aesthetics in relation to English thought of the seventeenth and eighteenth centuries, focusing in particular on music. It argues that a “dual aesthetic”, or a division in perception of an artistic experience between broad conceptions related to the intellectual and the sensual, was an implied discourse running through discussions of art, philosophy, music, education and other areas. I argue that both seventeenth- and eighteenth-century philosophers of the arts viewed the intellectual and sensual experiences as different things, and this distinction meant that they felt that an individual could perceive a painting, a work of music or another expression of artistic intent on two levels. A related division is between the macro-rhetorical, or broadly constructional, elements and the micro-rhetorical, or minutiae. In terms of music, ideas of affect and rhetoric were employed in three main ways in the period, given here in increasing order of their level of specific detail. The first was as concepts of general relation between different arts such as poetry, music and painting. Philosophical thought of the period held that the aim of any art was to move the passions and affections, and rhetoric was a template used to establish terms of discussion. The second way in which these ideas could be related to music was as general metaphors, such as the common metaphor of a piece as an oration. The third relation was on the constructional level, where ideas of musical affect were applied to instrumentation, rhythm, dynamics and other areas. Rhetoric served here as a specific constructional model, providing tools such as templates for the general structure of a work and figures that could be used in order to move the passions appropriately. The primary sources consulted are, for the most part, works either written in England, translated into English in the period, or well-known there during the seventeenth and the first half of the eighteenth century. Many of these were not concerned in the first instance with music, and explored instead aesthetics, philosophy or the arts in general. Such a contextual examination helps clarify terminological confusion, and many terms which have, for example, a musico-rhetorical function can thus be identified. There was no unified theory of affect and the passions, and certainly no definitive catalogue of musico-rhetorical devices in England in this period. Instead, this dissertation looks at commonalities of approach and the chronological development of affective and rhetorical elements in music. To this end, a wide range of sources have been discussed and contextualized, including works on classical rhetoric and its derivatives, education and medicine. General concepts are identified and information is then extrapolated from this. Ultimately, the elements combine in a hierarchy of construction, with overreaching principles coming from rhetoric, broad elements from affective theory and minutiae from both. The dual aesthetic, an implicit principle underlying seventeenth- and eighteenth-century thought about the arts, is thus made explicit in this dissertation.

This dissertation examines affect, rhetoric and aesthetics in relation to English thought of the seventeenth and eighteenth centuries, focusing in particular on music. It argues that a “dual aesthetic”, or a division in perception of an artistic experience between broad conceptions related to the intellectual and the sensual, was an implied discourse running through discussions of art, philosophy, music, education and other areas. I argue that both seventeenth- and eighteenth-century philosophers of the arts viewed the intellectual and sensual experiences as different things, and this distinction meant that they felt that an individual could perceive a painting, a work of music or another expression of artistic intent on two levels. A related division is between the macro-rhetorical, or broadly constructional, elements and the micro-rhetorical, or minutiae. In terms of music, ideas of affect and rhetoric were employed in three main ways in the period, given here in increasing order of their level of specific detail. The first was as concepts of general relation between different arts such as poetry, music and painting. Philosophical thought of the period held that the aim of any art was to move the passions and affections, and rhetoric was a template used to establish terms of discussion. The second way in which these ideas could be related to music was as general metaphors, such as the common metaphor of a piece as an oration. The third relation was on the constructional level, where ideas of musical affect were applied to instrumentation, rhythm, dynamics and other areas. Rhetoric served here as a specific constructional model, providing tools such as templates for the general structure of a work and figures that could be used in order to move the passions appropriately. The primary sources consulted are, for the most part, works either written in England, translated into English in the period, or well-known there during the seventeenth and the first half of the eighteenth century. Many of these were not concerned in the first instance with music, and explored instead aesthetics, philosophy or the arts in general. Such a contextual examination helps clarify terminological confusion, and many terms which have, for example, a musico-rhetorical function can thus be identified. There was no unified theory of affect and the passions, and certainly no definitive catalogue of musico-rhetorical devices in England in this period. Instead, this dissertation looks at commonalities of approach and the chronological development of affective and rhetorical elements in music. To this end, a wide range of sources have been discussed and contextualized, including works on classical rhetoric and its derivatives, education and medicine. General concepts are identified and information is then extrapolated from this. Ultimately, the elements combine in a hierarchy of construction, with overreaching principles coming from rhetoric, broad elements from affective theory and minutiae from both. The dual aesthetic, an implicit principle underlying seventeenth- and eighteenth-century thought about the arts, is thus made explicit in this dissertation.

This dissertation examines affect, rhetoric and aesthetics in relation to English thought of the seventeenth and eighteenth centuries, focusing in particular on music. It argues that a “dual aesthetic”, or a division in perception of an artistic experience between broad conceptions related to the intellectual and the sensual, was an implied discourse running through discussions of art, philosophy, music, education and other areas. I argue that both seventeenth- and eighteenth-century philosophers of the arts viewed the intellectual and sensual experiences as different things, and this distinction meant that they felt that an individual could perceive a painting, a work of music or another expression of artistic intent on two levels. A related division is between the macro-rhetorical, or broadly constructional, elements and the micro-rhetorical, or minutiae. In terms of music, ideas of affect and rhetoric were employed in three main ways in the period, given here in increasing order of their level of specific detail. The first was as concepts of general relation between different arts such as poetry, music and painting. Philosophical thought of the period held that the aim of any art was to move the passions and affections, and rhetoric was a template used to establish terms of discussion. The second way in which these ideas could be related to music was as general metaphors, such as the common metaphor of a piece as an oration. The third relation was on the constructional level, where ideas of musical affect were applied to instrumentation, rhythm, dynamics and other areas. Rhetoric served here as a specific constructional model, providing tools such as templates for the general structure of a work and figures that could be used in order to move the passions appropriately. The primary sources consulted are, for the most part, works either written in England, translated into English in the period, or well-known there during the seventeenth and the first half of the eighteenth century. Many of these were not concerned in the first instance with music, and explored instead aesthetics, philosophy or the arts in general. Such a contextual examination helps clarify terminological confusion, and many terms which have, for example, a musico-rhetorical function can thus be identified. There was no unified theory of affect and the passions, and certainly no definitive catalogue of musico-rhetorical devices in England in this period. Instead, this dissertation looks at commonalities of approach and the chronological development of affective and rhetorical elements in music. To this end, a wide range of sources have been discussed and contextualized, including works on classical rhetoric and its derivatives, education and medicine. General concepts are identified and information is then extrapolated from this. Ultimately, the elements combine in a hierarchy of construction, with overreaching principles coming from rhetoric, broad elements from affective theory and minutiae from both. The dual aesthetic, an implicit principle underlying seventeenth- and eighteenth-century thought about the arts, is thus made explicit in this dissertation.

Thesis (Ph.D.)--Bowling Green State University, 2006. / Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at El Paso, 2009. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis (Ph.D.)--Bowling Green State University, 2006. / Document formatted into pages; contains vii, 167 p. Includes bibliographical references.

Orientador: Gisela Gomes Pupo Nogueira / Banca: Martha L. Herr / Banca: Margareth dos Santos / Resumo: No presente trabalho buscamos refletir a respeito de alguns dos diversos procedimentos extramusicais e interdisciplinares envolvidos na confecção da obra musical Romancero Gitano, de Autoria de Mario Castelnuovo-Tedesco com textos de Federico Garcia Lorca. Para o cumprimento desta tarefa foram considerados procedimentos como retórica e word-painting, bem como levantamento de dados biográficos de compositor e poeta, análises técnico -musicais de cada um dos movimentos da obra e leituras poéticas dos textos / Abstract: In the present work our aim was to reflect on some of the various extra musical and interdisciplinary procedures involved in the confection of the musical work Romancero Gitano, Mario Castelnuovo-Tedesco's authorship, with texts by Federico Garcia Lorca. To achieve this aim we have considered procedures such as rhetoric and word-painting, as well as research on biographical data about composer and poet, technical -musical analysis of each one of the movements of the work and poetical readings of the texts / Mestre

Thesis (M.A.)--University of Adelaide, 1987. / Includes bibliographical references (leaves 206-220).

Orientador(a): Gisela Gomes Pupo Nogueira / Banca: Giacomo Bartoloni / Banca: Yara Caznok / Banca: Alexandre Francischini / Banca: Gilson Antunes / Resumo: A presente tese discute as contribuições da retórica musical nos processos de transcrição do repertório solista do compositor alemão J. S. Bach (1685-1750) para o violão de onze cordas, no inglês, alto-guitar. Trata-se de uma pesquisa alinhada aos fundamentos da Musicologia Histórica, que resulta em uma série de transcrições, concertos e gravações historicamente orientadas. Entre os referenciais teóricos adotados estão os autores basilares da Musicologia Histórica, como Harnoncourt (1989), Kermann (1987), Yates (2013) e Bartel (1997), além dos autores brasileiros Nogueira (2011), Souto (2015) e Cardoso (2015). Dos aspectos metodológicos, pode-se classificar esta pesquisa como documental, de cunho bibliográfico. No segundo momento, realizou-se uma análise comparativa entre obras barrocas. Este estudo se justifica por contribuir para as discussões acerca do violão de onze cordas, até hoje pouco explorado acadêmica e artisticamente. Podemos citar também a necessidade de ampliação do repertório para este instrumento, além do incremento às possibilidades de pesquisas a respeito do violão de onze cordas. Buscamos com isso aplicar princípios da retórica musical barroca na elaboração de uma performance musical sobre o repertório alemão do século XVIII. O estudo sobre a obra de J. S. Bach, a partir dos elementos retórico-musicais, deram subsídios para melhor compreensão de seus processos composicionais, e à aquisição de ferramentas teóricas norteadoras dos processos de transcrição do repertório barroco. O concerto da defesa de tese apresenta a transcrição para violão de onze cordas da Suite II para Violoncelo de J. S. Bach. A presente pesquisa teve como resultado final a gravação de um CD e de um DVD, nos quais apresento diversas obras barrocas transcritas para violão de onze cordas, sob a perspectiva da performance historicamente orientada / Abstract: This thesis discusses the contributions o f musical rhetoric in the transcription processes of the solo repertoire composed by J. S. Bach (1685- 1750) for the eleven-string guitar, or alto- guitar. It is a research based on the grounds of Hi storical Musicology, which results in a series of historically oriented transcriptions, concerts and recordings. Among the theoretical references adopted, we utilized the fundamental authors of His torical Musicology, such as Harnoncourt (1989), Kermann (1987), Yates (2013) and Bartel (1997), bes ides Brazilian authors Nogueira (2011), Souto (2015) and Cardoso (2015). In terms of methodology, one can classify this research as documentary, of bibliographic character. In a secon d moment, we realized a comparative analysis between baroque works. This study is justified by i ts contribution to the discussions about the alto-guitar, until now insufficiently explored acad emically and artistically. We can also cite the nee d to expand the repertoire for this instrument, as we ll as to increase the possibilities for research on alto-guitar. We seek to apply principles of baroque musical rhetoric in the elaboration of a musical performance on the German repertoire of the eightee nth century. The study of the work of J. S. Bach, from the rhetoric-musical elements, gave subs idies for a better understanding of its compositional processes, and the acquisition of the oretical tools guiding the processes of transcription of the baroque repertoire. The thesis defense concert features the transcription for alto-guitar from Cello Suite II by J. S. Bach. The present research resulted in the recording of a CD and a DVD, in which I present several Baroque works transcribed for the alto-guitar, from the perspective of historically oriented performance / Doutor