從Joachim Burmeister的音樂修辭學(Musikalische Rhetorik)理論談巴洛克時期的音樂理解

Abstract

The concept of rhetoric, which originated from the ancient Greek, influenced the musical comprehension of affection in the Baroque period. Long before 'theory of musical figures' (Figurenlehre) had been systematically established in the 17th and 18th century, there were many composers who had used 'Musical figures of rhetoric' (musikalisch-rhetorische Figuren) to compose. For example: G. Dufay (1397-1474) and O. di Lasso(1530/32-1594) in the 15th and 16th century. Not until Baroque period, had the theory of 'rhetoric of music' (Musikalische Rhetorik) become the important basis to compose. One of these theories is J. Burmeister's theory of 'rhetoric of music' which will be discussed in the article.After summarizing the historical background and sources of the theories of 'rhetoric of music', the main points of this article is mainly to discuss Burmeister's theory of 'rhetoric of music' and how to express the emotion of poor, fear, sadness and happiness by using certain peculiar figures. Besides, this discussion will also point out how theorists in different aspects expounded, defined, depicted and distinguished these figures, which expressed different emotions, to establish related theories.