Principles of Music: Rhetoric Part II

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In this video I continue to discuss how rhetorical devices can be applied to music. I initially considered putting what I discuss here into Part I, but I didn't want to overload the viewer with too many rhetorical devices at once.
A special thanks as always to musopen.org and imslp.org for offering free public domain sheet music and recordings online.

Опубликовано:

4 окт 2024

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Комментарии : 30

@eltonwild5648 4 года назад

I like this upload schedule! :)

@millennial8441 Год назад

I think that these rhetoric figures applied to music is a thing of memory. Once I read that the human memory only can recall easily events that are at the begging or at the end of a long row of events. Many musicians don't give the real importance to this thing.

@emanuel_soundtrack 4 года назад

This is hugely important and underrated im the teaching of form and composition . Nice that you bring this topic forward so it makes easier for people understand some thoughts of my next videos. Schönberg could habe spoke more about this os his arguments of a structural logic in music.

@emanuel_soundtrack 4 года назад

i tried this ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-EQfmMo0whQQ.html

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@Bentlee Fox instablaster ;)

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@tobb1178 4 года назад

Recently found this channel, really deserves more views. Well produced and i really enjoy the length of the videos, short and to the point.

@curtpiazza1688 Год назад

Great illustrations! Love the allusions to Lincoln and "The Three Stooges".....great stuff!

@otv88 4 года назад

Your teaching style with accompanying graphics and examples is really fantastic. There is a ton of Tubes stuff, but you have nailed the perfect balance. You're paving the way for a complete novice, so thank you.

@lavendelle_swift 4 года назад

A big help for the aspiring composers.

@marches45 Год назад

The go-to example of epiphora I’ll think of now is the triplet figure punctuating each phrase in wind arrangements of God of Our Fathers.

@rafaellazo1725 4 года назад

great series !!

@galuppimusic Год назад

This is neither here nor there, but the trumpets and drums in the Dies Irae were not composed by Mozart. They were added to the autograph score by Joseph Eybler and then revised (into their present "epiphoric" form) by Franz Süssmayr.

@MusicaUniversalis Год назад

Yes I realized this upon viewing the original manuscript after editing the video. Süßmayr probably also had a good handle on rhetoric as most educated people did back then.

@galuppimusic Год назад

I’m sure he did! Poor guy doesn’t get nearly enough credit for completing the requiem anyway.

@eltonwild5648 4 года назад

Can you do more form videos in the future? I would love an alemande

@MusicaUniversalis 4 года назад

I might already be planning something of the sort.... 😉

@JeezVince 4 года назад

Great subject. And series of shorts videos are great. Do you have some ressources that gives more examples or rhetoric in music?

@mestremusico 10 месяцев назад

Quoth the Raven “Nevermore".

@spencerrobinson1982 2 года назад

First off, thanks because I very much enjoyed this rhetoric series. I also had a question though, I've been trying to think of silence/rests as motifs and it got me thinking. Would it make sense to think of a "female ending" as an example of an epiphora? Technically its silence thats being repeated, conversely would sections that begin with a rest be an anaphora?

@sgut1947 Год назад

Fascinating question! I've no idea of the answer, but it might be interesting to consider the last movement of Beethoven Op 10 No 3. (Beethoven was a master of using rests for dramatic effect.)

@johannesbrahms3322 4 года назад

Very good video overall! But I have to say that the examples shown were not really convincing. It was often just the repetition of the same phrase just with a veeeery slightly altered first section.

@MusicaUniversalis 4 года назад

Yes I might agree, it’s a more difficult rhetorical device to find. For me it’s the principle more that matters..... A repetition at the end of a musical phrase. If you find better examples of epiphoras and write them in a comment I’ll pin it!

@johannesbrahms3322 4 года назад

@@MusicaUniversalis You are right, finding epiphoras is quite difficult. I'd say that the epiphora is way less important in music than the anaphora. While the anaphora feels present in I'd say more then half of the classical melodies and is one of the most basic principles in melody, the epiphora is something less intuitive to use in my opinion. While a lot of the rhetorical figures in language can not only be understood theoretically, but have a certain feel to them, I couldn't perceive the same "feel" in music yet (apart from the anaphora). The more I look forward to your series!

@lunar.6091 4 года назад

What recording of Mozart’s requiem was used?

@kennethhymes9734 Год назад

Extremely ethnocentric and narrow. Good pop songs and traditional songcraft do this every day. The best is rare, just like in european symphonic and chamber music. Music has moved on precisely because of the rhetorical limitations - in topic, materials, breadth of perspective, form. "Classical" music has played many games of catchup, and I love all well made music, but really this is a dead end. If you want to revitalize the field, start by rooting out the deeply entrenched misogyny, racism, and classism which essentially define it. Then maybe great music will follow, along with the inevitable dross common to all genres.

@khalogqubule5412 Год назад

I'm not going to touch on the ending bit about the systemic issues within the world of classical music because I don't think I know enough to do so, but I think that despite it being entirely focused on western Classical music, the video still holds some merit. I complete agree that good songcraft uses these techniques, and that's why I come to these videos and an aspiring musician (jazz/pop Tings): to learn said techniques. As a musician, it's my personal job to learn as much as I can from different musical traditions to add different nuances, and if I have to learn to music of old dead white guys, sure. Why not? They have they're own way of doing things and even if it's not my thing, I can respect the craftmanship that went into these works and extrapolate then for my own purposes, in a different musical context. Yes, it's very ethnocentric and narrow in terms of its examples and scope, but that doesn't, to me at least, diminish the value of the content being taught.