Cette thèse veut contribuer au débat sur l’interprétation historiquement informée : oubliant la question de la prononciation globale de l’oeuvre, l’IHI néglige la dimension rhétorique de l’interprétation musicale, et c’est cette lacune que nous prétendons combler. À partir d’une réflexion sur la théorie de la pronuntiatio rhétorique et en prenant appui sur les principes d’interprétation exposés dans une sélection de traités (C.P.E. Bach, Quantz, Mattheson, L.Mozart), notre réflexion nous amène à proposer ce que nous appelons l’Interprétation Rhétoriquement Informée. L’IRI est définie comme la pratique musicale qui assied ses décisions interprétatives sur des informations contenues dans le corpus des traités de rhétorique et d’art oratoire, des manuels de discours public et des méthodes d’interprétation instrumentale et vocale. La pronuntiatio est envisagée dans ses aspects auditifs et visuels (vox et corpus),ses quatre vertus (puritas, perspicuitas, ornatus et aptum), ainsi que leurs vices et licences respectifs. Notre intention est d’élaborer un ensemble de stratégies rhétoriques modulables par lesquelles l’analyse collabore à l'interprétation en termes de génération d’idées, d’enrichissement et de canalisation de l’imaginaire et d’inscription du geste et de l’énergie appropriés dans la restitution sonore. Cette théorie de la prononciation musicale est appliquée à quatre oeuvres (Händel, Montéclair, Telemann, C.P.E. Bach) : ces exemples de programmes d’interprétation nous permettent d’avancer que la musique de cette époque est par essence éloquente et que son interprétation ne peut le redevenir sans un retour à l’intelligence rhétorique et à ses principes de pronuntiatio. / The present dissertation aims to contribute to the debate on Historically Informed Performance: setting aside thequestion of a particular piece’s global pronunciation, HIP ignores the rhetorical dimension of musical interpretation,and it is this specific gap we would fill. Based on a reflection on the rhetorical pronuntiatio theory, and leaning on theprinciples of interpretation as exposed in several selected treaties (C.P.E. Bach, Quantz, Mattheson, L. Mozart), ourreflection leads us to propose what we call the Rhetorically Informed Performance. The RIP is defined as a musicalpractice that grounds its interpretative decisions on information contained in the corpus of rhetorical and oratorial artskill treaties, as well as in public-speaking manuals and methods of vocal and instrumental interpretation. Thepronuntiatio is considered in both its visual and auditory aspects (corpus and vox), its four virtues (puritas, perspicuitas,ornatus and aptum), and their respective vices and licenses. Our intention is to put together a group of adjustablerhetorical strategies enabling the analysis to contribute to the interpretation in terms of the generation of ideas, theenrichment and channeling of imagination, and the inscription of the appropriate movement and energy into thesonorous reproduction. This musical pronunciation theory is applied to four pieces (Händel, Montéclair, Telemann,C.P.E. Bach): these examples of interpretation programs allow us to put forward the idea that the music of thatperiod was in its essence eloquent, and that its interpretation cannot become eloquent again without returning torhetorical intelligence and its principles of pronuntiatio.

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<p>How a speaker can use their posture, gesture, facial expression and voice to create a strong ethos, pistis and sense of trustworthiness is, in this paper, associated with charisma (the power of leadership or authority).</p><p>Verbal and nonverbal expressions from three particular speeches by Martin Luther King, John F Kennedy and Bill Clinton have been analyzed in depth. The results show that patos as well as strong nonverbal expression are factors in inspiring devotion or creating enthusiasm. Personal magnetism and radiance is also found to develop through figures of speech and rhetorical devices, including metaphors. Results show that facial expressions, pitch and other prosodic information are not always consciously taken in. Nevertheless, it is questioned whether such information can affect the ethos and pistis developed. This kind of subconscious infliction can be made visible by modern technical equipment. By identifying relevant para- and extralinguistic signals (so called ‘charismatic behaviors’ e.g. intense eyecontact) we can more easily understand why some people affect us greatly, while others go unnoticed.</p>

How a speaker can use their posture, gesture, facial expression and voice to create a strong ethos, pistis and sense of trustworthiness is, in this paper, associated with charisma (the power of leadership or authority). Verbal and nonverbal expressions from three particular speeches by Martin Luther King, John F Kennedy and Bill Clinton have been analyzed in depth. The results show that patos as well as strong nonverbal expression are factors in inspiring devotion or creating enthusiasm. Personal magnetism and radiance is also found to develop through figures of speech and rhetorical devices, including metaphors. Results show that facial expressions, pitch and other prosodic information are not always consciously taken in. Nevertheless, it is questioned whether such information can affect the ethos and pistis developed. This kind of subconscious infliction can be made visible by modern technical equipment. By identifying relevant para- and extralinguistic signals (so called ‘charismatic behaviors’ e.g. intense eyecontact) we can more easily understand why some people affect us greatly, while others go unnoticed.