Descartes’ Compendium musicae and Lamy’s La Rhétorique ou l’art de parler,
both published in English translation in London in the late seventeenth century, suggest
approaches to period performance practice that support expressive intonation as a rhetorical
device. Descartes’ unique perspective on musical pitch and intervals provides a
methodology for understanding inflected intonation in performance. Closely aligned with
Descartes’ epistemological perspective, Lamy’s treatise provides an understanding of
expressive intention as essential to effective rhetorical delivery. These approaches are
applied to musical examples from trio sonatas of Arcangelo Corelli, John Ravenscroft and
Henry Purcell, demonstrating that expressive intonation using subtle pitch inflection can be
explained as a rhetorical practice. These subtle pitch inflections, related as they are to both
rhetorical delivery and intonation systems, are not reflected in notation but realized only as
music is heard in time. It is in performance contexts that pitch inflection can be realized as
an expressive device. A supplemental audio file contains five short examples
demonstrating pitch deviation applied to selected intervals.
| Identifer | oai:union.ndltd.org:uoregon.edu/oai:scholarsbank.uoregon.edu:1794/12344 |
| Date | January 2012 |
| Creators | Gries, Margret, Gries, Margret |
| Contributors | Vanscheeuwijck, Marc |
| Publisher | University of Oregon |
| Source Sets | University of Oregon |
| Language | en_US |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Rights | All Rights Reserved. |
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