In this video I discuss rhetorical devices, that don't apply to repetition. A special thanks as always to musopen.org and imslp.org for offering free public domain sheet music and recordings online.
This was a great mind opener. I am glad you mentioned this becoming a subconscious quality and how historically it is not recorded that composers actually thought about using Rhetorical Devices. I would even say that it is something that is so embedded in our language and music that it almost comes at a second nature, but being able to identify each Rhetorical Device is very useful and also impressive. I feel this explains a lot of those moments in music (and also socializing) where someone does something clever and someone else says, "I see what you did there." A funny example is Joe Crocker's - Feelin' Alright. The lyrics: You're feelin' alright? (Oh, no) I'm not feelin' too good myself (no, no) Yes sir, you're feelin' alright? (Oh, no) I'm not feelin' that good myself, yeah (no, no)
I really enjoyed this series. Unless I'm gripped by a fierce passion for the piece I'm writing, I often struggle to develop it and more often than not leave it as an unfinished sketch. These ideas are all so useful as "nuts and bolts" that I think I can put to good and productive use. Many thanks :)
I just realised how lop-sided my earlier musical education was because of not being taught well enough these rhetorical principles which are embedded in music, and especially how a solo performer can better shape the performance having understood these devices.
@Musica Universalis, I think I speak for many of us when I ask if you are able to put the aforementioned Rhetorical Device sheet in the description of this video. It would be extremely helpful on an already brilliant series, thanks again for all your hard work.
I can't seem to find the source of my printout, perhaps the website no longer exists, however the link below is very similar to what I have. rhetorische-mittel.net/wichtige-stilmittel-liste/
I would say that the Antithesis is one of the most common rhetorical devices in Beethoven’s music, even if it’s just dynamics, as the sudden contrast of piano and forte is part of his style.
I think this series is highly relevant. Pop music is full of rhetorical devices; it's basically what a hook is. And public speaking is full of music. Great speakers like MLK or Churchill knew how to modulation their pitch, dynamics, and especially rhythm to the greatest effect. Try reading "I have a dream" in a normal speaking voice, then contrast it with the real thing.
I don’t know if you’ll see this comment but the quality of my musical ideas/compositions and classical improvisations, according to my teachers, has greatly improved after I started applying the rhetorical methods you describe in your videos. Do you have a patreon or similar account? I thank you for your work!
I watched this series earlier today. After thinking about it, I’d be really curious to hear your thoughts on Arvo Pärt’s method of generating music from a text.
I feel as though the anacoluthon is applied in Baroque overtures that shift suddenly from the arpeggios to the fugue in the middle, often with a different tempo and even different time signature. Is that true?
I am wondering if the constant switch between major and minor Registers in Beethoven's moonlight sonata might also be an Example of Antithesis . thanks for the wonderful input
I would consider a major/minor switch, relative or parallel, or distantly related to be an Antithesis personally, as major and minor are opposites, which is the essence of Antithesis. Especially if the Major is peaceful and the Minor is dramatic.
@@MusicaUniversalis wise answer ;) Are you familiar with the Bernstein's lectures at Harvard? He talks a bit about that subject there. I don't know if you enjoy the work of Bernstein
If it’s Bach, probably many devices. I took a look at it. Keep in mind that many rhetorical devices can be conveyed rhythmically, meaning the same rhythmical pattern is used over and over. And there are plenty of examples of that in the piece you referred to.
Yes, being a lost art more or less, I am by no means someone who understands its intricacies. Something to look into definitely. The highest level of partimento training had musicians improvising fugues, that's a talent very few possess nowadays.
