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An under-construction checklist, regularly updated with additional material, of references on musica poetica. Readers who wish to gain an in-depth acquaintance with the concept of musica poetica should start with the articles in The New Grove II and in Die Musik in Geschichte und Gegenwart (MGG). These should be supplemented with Bartel's marvelous Musica Poetica: Musical Rhetorical Figures in German Baroque Music and with Joachim Burmeister's Musica poetica (1606) in the 1993 Rivera translation. Rolf Damman's comprehensive Der Musikbegriff im deutschen Barock is indispensable as well for its in-depth accounting of the Weltanschauung of the German Baroque composer. Those desiring a selection of Enlightenment readings will find Isaac Kramnick's Portable Enlightenment Reader well worthwhile.

Thanks to the following individuals who have contributed to the bibliography: Barnaby Ralph [BR], Queensland, Australia; Themis Toumpoulidis [TT], Sheffield, England; Fred Fehleisen [FF], New York, New York, Judy Tarling [JT], UK. Their contributions are noted with their initials following.

Comments, suggestions, and corrections are welcome at
Contact Musica Poetica via the Burmeister.

Addison, Joseph, and Richard Steele.The Spectator. 17-11-1714. Ed. Donald R. Bond. Oxford: Clarendon Press, 1965. [BR]

Agrippa, Henry Cornelius. "Declamation of the Uncertainty and Vanity of the Sciences and Arts," in Strunk, Oliver, ed., Source Readings in Music History. Rev. ed. Leo Treitler. London: Norton, 1998, 304-308. Excerpt, full text orig. publ. 1530, and orig. transl. by James Sanford, London: 1569.[BR]

Alighieri, Dante. The Inferno. A verse rendering for the modern reader by John Ciardi. Historical introduction by Archibald T. MacAllister. New York: New American Library, 1954. 288 p.

_____. The Purgatorio. A verse translation for the modern reader by John Ciardi. Introduction by Archibald T. MacAllister. New York: New American Library, 1957. 350 p.

_____. The Paradiso. A verse rendering for the modern reader by John Ciardi. Introduction by John Freccero. New York: Penguin (A Mentor Book), 1961. xxi, 367 p.

Allanbrook, Wye Jamison. Rhythmic Gesture in Mozart: Le nozze di Figaro & Don Giovanni. Chicago: University of Chicago Press, 1983. xii, 396 p.

Anderson, Emily, ed. The Letters of Mozart and his Family: Chronologically Arranged, transl. and edited with an Introduction, Notes and Indexes. Second edition by A. Hyatt King and Monica Carolan. New York: St. Martinís Press, 1966. 3 vols. (The letters concerning Idomeneo are in Vol. II, 659-710.)

Aristotle. The Art of Rhetoric. Transl. with an introduction by H.C. Lawson-Tancred. Harmondsworth: Penguin, 1991. [BR]

_____. "On the Art of Poetry," in: Classical Literary Criticism. Transl. with an introduction by T.S. Dorsch. Harmondsworth: Penguin, 1965, pp. 29-75. (This excerpt ca. ante 322 B.C.). [BR]

Arlt, W. "Zur Handhabung der 'inventio' in der deutschen Musiklehre des frühen achtzehnten Jahrhunderts," in Buelow, J.G., and H.J. Marx, eds., New Mattheson Studies, Cambridge: Cambridge University Press, 1983, pp. 371-391. [TT]

Arteaga, Esteban. Rivoluzioni del teatro musicale italiano. Stephan Arteaga's Geschichte der italiänischen Oper von ihrem ersten Ursprung an bis auf gegenwärtige Zeiten aus dem Italiänischen übersetzt und mit Anmerkungen begleitet von Johann Nicolaus Forkel. Leipzig: Im Schwickertschen Verlage, 1789. 2 vols.

Auerbach, Erich. "Figura," in Archivum Romanicum, Nuova rivista di filologia Romanza, diretta di Giulio Bertoni, XXII, 1938. Firenze: Leo S. Olschki, 1938-XVII, pp. 436-489.

_____. Mimesis; dargestellte Wirklichkeit in der abendländischen Literatur. Bern: A. Francke, 1946. 503 p.

_____. Mimesis; the representation of reality in Western literature. Translated from the German by Willard R. Trask. Princeton: Princeton University Press, 1953. 563 p.

Avison, Charles. An Essay on Musical Expression. 2nd Ed. 1753. Facs. New York: Broude Brothers, 1967. [BR]

Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. Transl. William Mitchell. London: Cassell, 1949. (Orig. publ. 1753/1787.) [BR]

Bach, J.S. 371 Four-Part Chorales. New York: Associated Music Publishers, n.d. 178 p.

Baldwin, Charles Sears. Renaissance Literary Theory and Practice: Classicism in the Rhetoric and Poetic of Italy, France, and England 1400-1600. Edited with Introduction by Donald Lemen Clark. New York: Columbia University Press, 1939. Reprinted Gloucester, MA: Peter Smith, 1959. xiv, 251 p.

Barnes, Jonathan. Early Greek Philosophy. London: Penguin Books, 1987. 318 p.

Bartel, Dietrich. Handbuch der musikalischen Figurenlehre. Regensburg: Laaber, 1985.

_____. Musica poetica: Musical-Rhetorical Figures in German Baroque Music. Lincoln and London: University of Nebraska Press, 1997. xv, 471 p.

Benary, Peter. Die deutsche Kompositionslehre des 18. Jahrhunderts. Leipzig: Breitkopf & Härtel, 1961.

Benitez, Vincent. "Musical-Rhetorical Figures in the Orgelbüchlein of J. S. Bach," in Bach 18 (1987), pp. 3-21.

Bianconi, Lorenzo. Music in the Seventeenth Century. Transl. David Bryant. Cambridge: Cambridge University Press, 1987.

Blume, Friedrich. Classic and Romantic Music. New York: W.W. Norton, 1970. viii, 213.

_____. Renaissance and Baroque Music. New York: W.W. Norton, 1967. ix, 180 p.

Boethius, Anicius Manlius Severinus. Fundamentals of Music. Transl. with an introduction by Calvin M. Bower. New Haven: Yale University Press, 1989 (orig. c. 505 AD). [BR]

Boomgaarden, Donald R. Musical Thought in Britain and Germany During the Early Eighteenth Century. New York: Peter Lang, 1987. [BR]

Boomgaarden, Donald R. & Richard B. Nelson. "Johann Baptist Samberís (1654-1717) Manuductio ad organum: The First Modern Discussion of Fugue in German," in Journal of Musicological Research 11.2 (1991), pp. 93-126. [BR]

Bonds, Mark Evan. Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge, MA: Harvard University Press, 1991.

Borgerding, Todd. "Preachers, Pronunciatio, and Music: Hearing Rhetoric in Renaissance Sacred Polyphony," in The Musical Quarterly 82.4 (1998), pp. 586-598. [BR]

Bose, Mishtooni. "Humanism, English Music and the Rhetoric of Criticism," in Music and Letters 77.1 (1996), pp. 1-21. [BR]

Brandes, Heinz Studien zur musikalischen Figurenlehre im 16. Jahrhundert. Berlin: Triltsch & Huther, 1935. 87 p.

Braunschweig, Karl. "Genealogy and Musica Poetica in Seventeenth- and Eighteenth-Century Theory," in Acta Musicologica 73.1 (2001), pp. 45-75. [BR]

Brown, Leslie E. "Oratorical Thought and the Tragédie Lyrique: A Consideration of Musical-Rhetorical Figures," in College Music Symposium 20 (1980), pp. 99-116.

Buchler, Justus. The Main of Light. New York: Oxford University Press, 1974.

Buelow, George J. "In Defence of J.A. Scheibe against J.S. Bach," in Proceedings of the Royal Musical Association 101 (1974-75), p. 85.

_____. "Johann Mattheson and the invention of the Affektenlehre," in New Mattheson Studies, ed. G. Buelow and H.J. Marx. Cambridge: Cambridge University Press, 1983.

_____. "The ëLoci topicií and affect in late baroque music; Heinichenís practical demonstration," in The Music Review, 28, 1966, pp. 161-176.

_____. "Music, Rhetoric, and the Concept of the Affections: A Selective Bibliography," in Notes 30 (1973), pp. 250-259.

_____. "Music and Rhetoric," in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 15, pp. 793-803.

_____. "Teaching Seventeenth-Century Concepts of Musical Form and Expression: An Aspect of Baroque Music," in College Music Symposium 27 (1987), pp. 1-13.

_____. Thorough-Bass Accompaniment according to Johann David Heinichen. Rev. ed. Ann Arbor: UMI Research Press, 1986.

Bukofzer, Manfred. "Allegory in Baroque Music," Journal of the Warburg and Courtauld Institutes III/IV (1939), pp. 1-21.

_____. Baroque Music. New York: W. W. Norton, 1965. Etc.

Burke, Edmund. A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. 2nd. ed. 1759. Facs. New York: Garland, 1971. [BR]

Burmeister, Joachim. Hypomnematum musicae poeticae. Rostock: S. Myliander, 1599.

_____. Musica autoschediastike. Rostock: C. Reusner, 1601.

_____. Musica poetica. Rostock: S. Myliander, 1606. Facs. ed. Kassel: Bärenreiter, 1955.

_____. Musical Poetics. Transl. Benito Rivera. New Haven: Yale University Press, 1993. 306 p. (Series ed. by Claude Palisca)

Buszin, Walter. Luther on Music. Pamphlet Series, no. 3. Saint Paul MN: Lutheran Society for Worship, Music and the Arts, 1958. Originally published in The Musical Quarterly 32 (1946).

Butler, Charles. The Principles of Music in Singing and Setting. 1636. Introduction by Gilbert Reaney. New York: Da Capo Press, 1970. (Orig. publ. 1636). [BR]

Butler, Gregory. "The Fantasia as Musical Image," in The Musical Quarterly 60 (1974), pp. 602-15.

_____. "Fugue and Rhetoric," in Journal of Music Theory 21 (1977), pp. 49-109.

_____. "Music and Rhetoric in Early Seventeenth-Century English Sources," in The Musical Quarterly 66 (1980), pp. 53-64.

Cahn, Peter. "Ritardatio, ritardando," in Handwörterbuch der musikalischen Terminologie. Wiesbaden: F. Steiner, 1972-.

_____. "Transitus," in Handwörterbuch der musikalischen Terminologie. Wiesbaden: F. Steiner, 1972-.

Clerx, Suzanne. "Le 'Baroque' Musical," in Les Colloques de Wegimont 4. Paris: Société d'éditions "Les Belles Lettres," 1963.

Cassirer, Ernst. The Individual and the Cosmos in Renaissance Philosophy. Transl. with an Introduction by Mario Domandi. Philadelphia: University of Pennsylvania Press, 1963. xii, 199 p. (Originally published as Individuum und Kosmos in der Philosophie der Renaissance in Studien der Bibliothek Warburg 10, Leipzig & Berlin: Teubner, 1927.)

_____. The Philosophy of the Enlightenment. Transl. by Fritz C.A. Koelln and James P. Pettegrove. Princeton: Princeton University Press, 1951. xiii, 366 p.

Cassirer, Ernst, Paul Oskar Kristeller, John Herman Randall, Jr., eds. The Renaissance Philosophy of Man. Chicago & London: University of Chicago Press, 1948. viii, 405 p.

Cotterell, Arthur, ed. The Penguin Encyclopedia of Ancient Civilizations. New York: Penguin Books, 1980. 367 p.

Courtois, StÈphane, Nicolas Werth, Jean-Louis PannÈ, Andrzej Paczkowski, Karel Bartosek, Jean-Louis Margolin. Ed. by Mark Kramer. Transl. by Jonathan Murphy. The Black Book of Communism: Crimes, Terror, Repression. Cambridge: Harvard University Press, 1999. 78 halftones, 6 maps, 912 p. Everyone should read this book. It is an essential volume on the atrocities wrought by those who arrogated power unto themselves, and who used terror as the ultimate tool of control.

From the promotional material at the HUP site, we read, "Already famous throughout Europe, this international bestseller plumbs recently opened archives in the former Soviet bloc to reveal the actual, practical accomplishments of Communism around the world: terror, torture, famine, mass deportations, and massacres. Astonishing in the sheer detail it amasses, the book is the first comprehensive attempt to catalogue and analyze the crimes of Communism over seventy years."

Dadisman, George, "Checklist of Mozart's Stage Works," at Musicapoetica.net (2001).

_____, "Some Observations on Dispositio and Elocutio in Bach's Wir eilen mit schwachen, doch emsigen Schritten from BWV 78," at Musicapoetica.net (2000).

_____, "Tritones, Triangles, and Tonal Symmetry in Idomeneo," at Musicapoetica.net (Forthcoming in 2003).

Dammann, Rolf. Der Musikbegriff im deutschen Barock. Köln: Arno Volk Verlag, 1967. 523 p.

David, Hans T. "Mozartean Modulations," in The Creative World of Mozart, ed. by Paul Henry Lang. New York: W. W. Norton, 1963, pp. 56-75.

Demske, James M. Being, Man & Death: a Key to Heidegger. Lexington: The University Press of Kentucky, 1970.

Dent, Edward J. Mozartís Operas: A Critical Study. Second Edition. London: Oxford University Press, 1960. xii, 276 p.

Deval, Dorothy. "The Aesthetics of Music in 18th- and Early 19th-Century Britain: a bibliography and commentary," in Michael Burden and Irena Cholji, ed. A Handbook for Studies in 18th-Century English Music II. Edinburgh: Burden & Cholji, 1989. [BR]

Dillenberger, John, ed. Martin Luther: Selections From His Writings. Garden City, New York: Doubleday & Company, 1961. xxxiii, 526 p.

Donington, Robert. The Interpretation of Early Music. New Version. New York: St. Martin's Press, 1974. 766 p.

Dowland, John. "Andreas Ornithoparcus [sic] His Micrologus, or Introduction: Containing the Art of Singing," 1609, in Ornithoparchus, Andreas and John Dowland, A Compendium of Musical Practice. Ed. with an introduction by Gustave Reese and Steven Ledbetter. New York: Dover, 1973, pp. 111-212. [BR]

Dufrenne, Mikel. The Phenomenology of Aesthetic Experience. Evanston: Northwestern University Press, 1973.

Eggebrecht, Hans Heinrich. "Zum Figur-Begriff der Musica Poetica," in Archiv für Musikwissenschaft, XVI, 1959, pp. 57-69.

Einstein, Alfred. Mozart: His Character, His Work. Transl. Arthur Mendel and Nathan Broder. London, Oxford, New York: Oxford University Press, 1945. viii, 492 p.

Farnsworth, Rodney. "'Hither, This Way': A Rhetorical-Musical Analysis of a Scene from Purcellís King Arthur," in The Musical Quarterly 74.1 (1990), pp. 83-97. [BR]

Forkel, Johann Nikolaus. Allgemeine Geschichte der Musik. Leipzig: Im Schwickertschen verlage, 1788-1801. 2 vols.

_____. Allgemeine Litteratur der Musik; oder, Anleitung zur Kenntniss bis auf die neusten Zeiten bey den Griechen, Römern und den meisten neuern europäischen Nationen sind geschrieben worden. Systematisch geordnet, und nach Veranlassung mit Anmerkungen und Urtheilen begleitet, von Johann Nicolaus Forkel. Hildesheim: G. Olms, 1962. 540 p. Reprografischer Nachdruck der Ausgabe Leipzig 1792. Contains a reprint of Tinctoris' Terminorum musicae diffinitorium.

_____. Musikalisch-Kritische Bibliothek. Hildesheim: G. Olms, 1964, 3 vols. Reprografischer Nachdruck der Ausgabe Gotha 1778. Reprint of a periodical published by C. W. Ettinger at Gotha, Germany.

Garstang, John. The Hittite Empire: Being a Surevey of the History, Geography and Monuments of Hittite Asia Minor and Syria, with Maps, Plans, and Illustrations. New York: Richard R. Smith, 1930. xvii, 364 p. A superb volume, extremely well-written, highly recommended.

Gaultier, Denis. La Rhétorique de dieux. Transl. with an introduction by David J. Buch. Madison: A-R Editions, 1990. (Orig. publ. 1652). [BR]

Georgiades, Thrasyboulos. Music and Language: The Rise of Western Music as Exemplified in Settings of the Mass. Cambridge: Cambridge University Press, 1982. x, 139 p.

Goddard, Dwight, ed. A Buddhist Bible. Introduction by Huston Smith, with a new Foreword by Robert Aitken. Boston: Beacon Press, 1994. xxxii, 677p. (Orig. publ. 1938 E.P. Dutton.)

Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. Indianapolis & New York: Bobbs-Merrill, 1968. xiii, 277 p.

Gottsched, Johann Christoph. Ausführliche Redekunst, nach Anleitung der alten Griechen und Römer, wie auch der neuern Ausländer.... Leipzig: Bernhard Christoph Breitkopf, 1736. 620 p. Also reprinted in 1973 by G. Olms, Hildesheim.

Guenther, Herbert V. Buddhist Philosophy in Theory and Practice. Baltimore: Penguin Books, 1972. xi, 240 p.

_____. Kindly Bent to Ease Us. Klong-chen rab-íbyams-pa, The Trilogy of Finding Comfort and Ease. Transl. from the Tibetan and annotated by Herbert V. Guenther. Emeryville, CA: Dharma Press, 1975. 3 vols.

Guiomar, Michel. Principes d'une Esthétique de la Mort. Paris: Librairie José Corti, 1967.

Gurlitt, Willibald. "Music und Rhetorik: Hinweise auf ihre geschichtliche Grundlageneinheit," in Helicon V, 1943 (1944), pp. 67-86.

Gyatso, Tenzin, His Holiness XIV Dalai Lama. The Key to Madhyamika. Transl. Gonsar Tulku, w. Gavin Kilty. First revised edition. Dharmsala: Library of Tibetan Works and Archives, 1976. 30 p.

Hadas, Moses, ed. The Complete Plays of Sophocles. Transl. by Sir Richard Claverhouse Jebb. New York: Bantam, 1971. xvi, 261 p.

Hankey, Susan. "The Compleat Gentlemanís Music," in Music and Letters 62.2 (1981), pp. 146-154. [BR]

Harrán, Don. "Toward a Rhetorical Code of Early Music Performance," in The Journal of Musicology, Vol. XV, Number 1, Winter 1997, pp. 19-42.

Harris, James. Three Treatises: The First Concerning Art; The Second Concerning Music, Painting, and Poetry; The Third Concerning Happiness. Fourth edition revised and corrected. London: C. Novrse, 1783 (1744). 377 p.

Harrison, D. "Rhetoric and Fugue: An Analytical Application," in Music Theory Spectrum 12, pp. 1-41. (Bloomington, Indiana, Society for Music Theory). [TT]

Hase, Hellmuth von, ed. Koechel ABC: Chronological and classified listing of W.A. Mozart's works by their Koechel numbers. Compiled from the sixth edition, prepared by Franz Giegling, Alexander Weinmann and Gerd Sievers, of the Chronological Thematic Catalogue of the Complete Musical Works of Wolfgang Amade Mozart. Wiesbaden: Breitkopf & Hartel, 1965. 97 p.

Heartz, Daniel. "The Genesis of Mozartís Idomeneo," in The Musical Quarterly, Vol. LV, No. 1, January, 1969, pp. 1-19.

_____. "Idomeneus Rex," in Mozart-Jahrbuch 1973/74.

_____. "Mozart, His Father, and Idomeneo," in The Musical Times, Vol. 119, 1978, pp. 228-231.

_____. Mozartís Operas. Ed., with contributing essays, by Thomas Bauman. Berkeley: University of California Press, 1990. xvi, 363 p.

_____. "Tonality and Motif in Idomeneo," in The Musical Times, Vol. 115, 1974, pp. 382-386.

Herissone, Rebecca. Music Theory in Seventeenth-Century England. Oxford: Oxford University Press, 2000. [BR]

Hertzmann, Eric. "Mozartís Creative Process," in The Creative World of Mozart, ed. by Paul Henry Lang. New York: W. W. Norton, 1963, pp. 17-30.

Highet, Gilbert. The Classical Tradition: Greek and Roman Influences on Western Literature. New York and Oxford: Oxford University Press, 1949, 1985. xxxviii, 763 p.

Heidegger, Martin. Basic Writings from Being and Time (1927) to The Task of Thinking (1964). Ed., with general introduction and introductions to each selection by David Farrell Krell. New York: Harper & Row, 1977. xvi, 397 p.

_____. Early Greek Thinking: The Dawn of Western Philosophy. Transl. by David Farrell Krell and Frank A. Capuzzi. New York: HarperCollins, 1984. 129 p.

_____. The Principle of Reason. Transl. Reginald Lilly. Bloomington and Indianapolis: Indiana University Press, 1991. Orig. publ. in German as Der Satz vom Grund, Verlag Gunther Neske, Pfullingen, 1957.

Heidegger, Martin and Eugen Fink. Heraclitus Seminar. Transl. by Charles H. Seibert. Evanston: Northwestern University Press, 1993. xxii, 169 p.

_____. Heraklit: Seminar Wintersemester 1966/1967. Frankfurt am Main: Vittorio Klostermann, 1970. 261 p.

Hindemith, Paul. The Craft of Musical Composition. Book I (Fourth Edition): Theoretical Part. English transl. by Arthur Mendel. New York: Associated Music Publishers, Inc. vi, 223 p.

Hohendahl, Peter Uwe, ed. A History of German Literary Criticism, 1730-1980. Lincoln and London: University of Nebraska Press, 1988. 479 p.

Hopper, Vincent Foster. Medieval Number Symbolism: Its Sources, Meaning, and Influence on Thought and Expression. New York: Columbia University Press, 1938. xii, 241 p.

Homer. The Iliad. Transl. by Robert Fitzgerald. New York: Anchor Doubleday, 1974. 594 p.

_____. The Odyssey. Transl. by Robert Fitzgerald. New York: Anchor Doubleday, 1961. 507 p.

Horace, "On the Art of Poetry," (c. 10 BC), in Classical Literary Criticism, Transl. with an introduction by T.S. Dorsch. Harmondsworth: Penguin, 1965, pp. 77-95. [BR]

Husserl, Edmund. Phenomenology and the Crisis of Philosophy. Transl. with an intro. by Quentin Lauer. New York: Harper Torchbooks, 1965. 192 p. Contains the essays "Philosophy as a Rigorous Science" ("Philosophie als strenge Wissenschaft," orig. publ. Logos I (1910-1911), 289-341), and "Philosophy and the Crisis of European Man" ("Die Krisis der europäischen Wissenschaften und die transzendentale Phänomenologie," Parts I & II publ. in Philosophia (1936)).

Hutcheson, Francis. An Essay on the Nature and Conduct of the Passions and Affections with Illustrations on the Moral Sense. 3rd ed. Facs. with an Introduction by Paul McReynolds. Gainesville: Scholars' Facsimiles & Reprints, 1969. (Orig. publ. 1742). [BR]

_____. An Inquiry into the Original of Our Ideas of Beauty and Virtue. 2nd ed. New York: Garland, 1971. (Orig. publ. 1726). [BR]

Jan, Steven B. Aspects of Mozartís Music in G Minor: Toward the Identification of Common Structural and Compositional Characteristics. New York and London: Garland, 1995. xiii, 414 p.

Jaspers, Karl. Truth and Symbol. Transl. with an intro. by Jean T. Wilde, William Kluback and William Kimmel. New York: Twayne Publishers, 1959. (Orig. pub. as Von der Wahrheit).

Jensen, H. James. Signs and Meaning in Eighteenth-Century Art: Epistemology, Rhetoric, Painting, Poesy, Music, Dramatic Performance, and G.F. Handel. New York: Peter Lang, 1997. [BR]

Jordan, Terry L. The U.S. Constitution and Fascinating Facts About It. 7th ed. Napervillie, Illinois: Oak Hill Publishing Company, 2000. 96 p.

Josephs, Herbert. Diderotís Dialogue of Language and Gesture. Columbus: Ohio State University Press, 1969. xi, 228 p.

Kay, George R., intro. and ed. The Penguin Book of Italian Verse with plain prose translations of each poem. Harmondsworth, Middlesex, Great Britain: Penguin Books, 1958. xxxiii, 424 p.

Kierkegaard, Søren. Either/Or: A Fragment of Life. Vol. I transl. by Walter Lowrie, with Revisions and a Foreword by Howard A. Johnson. Vol. II transl. by David F. Swenson and Lillian Marvin Swenson with Revisions and a Foreword by Howard A. Johnson. Princeton, NJ: Princeton University Press, 1944 (1959), 2 vols.

Kimmel, William. Images of Death in Western Music. Syllabus, lecture notes, and course materials, 73.261, Spring, 1977. Graduate Center of the City University of New York. Unpaginated.

_____. "Martin Luther, Musician," in HiFi/Stereo Review 17, 6 (December 1966), pp. 50-56.

_____. "The Phrygian Inflection and the Appearances of Death in Music," in College Music Symposium 20, 2 (1980), pp. 42-76.

Kimmel, William, and Geoffrey Clive, eds. Dimensions of Faith: Contemporary Prophetic Protestant Theology. Foreword by James Luther Adams. New York: Twain Publishers, 1960. 507 p.

Kirkendale, Warren. "Circulatio-Tradition, Maria Lactans, and Josquin as Musical Orator," in Acta Musicologica 56.1 (1984), pp. 69-92. [BR]

Kirnberger, Johann Philipp. The art of strict musical composition. Transl. by David Beach and Jurgen Thym; intro. and explanatory notes by David Beach. New Haven: Yale University Press, 1982. xix, 423 p.

_____. Kunst des reinen Satzes in der Musik, aus sicheren Grundsatzen hergeleitet und mit deutlichen Beyspielen erläutert.... Berlin: C. F. Voss, 1771-79. 2 volumes.

_____. Kunst des reinen Satzes in der Musik.... Hildesheim: G. Olms, 1968. 2 volumes. Facsimile reprint of the Berlin and Königsberg 1776-1779 ed.

Kivy, Peter. "Mattheson as Philosopher of Art," in The Musical Quarterly 70.2 (1984), pp. 248-265. [BR]

Kramnick, Isaac. The Portable Edmund Burke. New York and London: Penguin Books, 1999. 688 p.

_____. The Portable Enlightenment Reader. New York and London: Penguin Books, 1995. xxix, 670 p.

Kristeller, Paul Oskar. Renaissance Thought II: Papers on Humanism and the Arts. New York: Harper Torchbooks, 1965. x, 234.

Krones, Hartmut. "Musik und Rhetorik," in Die Musik in Geschichte und Gegenwart 6 (1996), pp. 814-852. (Allgemeine Enzyklopädie der Musik begründet von Friedrich Blume. Zweite, neubearbeitete Ausgabe herausgegeben von Ludwig Finscher. Kassel Basel London New York Prag: Bärenreiter; Stuttgart Weimar: Metzler, 1998.

Lanham, Richard A. A Handlist of Rhetorical Terms: A Guide for Students of English Literature. Berkeley and Los Angeles: University of California Press, 1969. 148 p.

LeCoat, Gerald. The Rhetoric of the Arts, 1550-1650. Frankfurt: Herbert Lang, 1975. [BR]

Leidner, Alan C. Sturm und Drang. New York: Continuum, 1992. xiv, 304 p.

Lessing, Gotthold Ephraim. Laokoön. Edited, with an Introduction, by Dorothy Reich. London: Oxford University Press, 235 p.

_____. Laocoön: An Essay on the Limits of Painting and Poetry. Transl., with an Introduction and Notes, by Edward Allen McCormick. Baltimore and London: Johns Hopkins, 1984. xxx, 259 p.

Leuchtmann, Horst. Die musikalischen Wortausdeutungen in den Motetten des Magnum Opus Musicum von Orlando di Lasso. Baden-Baden: Koerner, 1972. 149 p. (Sammlung musikwissenschaftlicher Abhandlungen, Band 38)

Lewis, Bernard. What Went Wrong?: Western Impact and Middle Eastern Response. New York: Oxford University Press, 2002. 180 p.

Lippman, Edward A. "The place of aesthetics in theoretical treatises on music," in Christopher Hatch and David W. Bernstein, eds., Music Theory and the Exploration of the Past. Chicago: University of Chicago Press, 1993. 217-232. [BR]

Longinus. "On the Sublime," (ca. 1st cent. AD) in Classical Literary Criticism. Transl. with an introduction by T.S. Dorsch. Harmondsworth: Penguin, 1965, pp. 97-158. [BR]

Mace, Thomas. Musickís Monument. Facs. ed. Paris: Centre National de la Recherche Scientifique, 1958. (Orig. publ. 1676). [BR]

Malcolm, Alexander. A Treatise on Musick, Speculative, Practical, and Historical. Facs., Gen. Ed. Frederick Freedman. New York: Da Capo, 1970. (Orig. publ. 1721). [BR]

Maniates, Maria Rika. "Music and Rhetoric: Facets of Cultural History in the Renaissance and the Baroque," Israel Studies in Musicology 3 (1983), pp. 44-69. [BR]

Marpurg, Friedrich Wilhelm. Anfangsguende der theoretischen Musik. New York: Broude Bros., 1966. 176 p. Facsimile of the Leipzig, 1757, edition.

_____. Anleitung zur Singcomposition. Berlin: G. A. Lange, 1758. 5, 206 p.

_____. Kritische Briefe über die Tonkunst. Hildesheim: G. Olms, 1974. Edited by F. W. Marpurg, who is also the author of the greater part of the letters. Reprinted from the 1759-1764 ed. publ. by F. W. Birnstiel, Berlin.

_____. Des critischen Musicus an der Spree. Erster Band. Hildesheim: G. Olms, 1970. 406 p. Facsimile of a weekly periodical published in Berlin by Haude & Spener from March 4, 1749, to Feb. 17, 1750.

Mattheson, Johann. Der volkommene Kapellmeister 1739. Faksimile-Nachdruck hrsg. von Margarete Reimann. Kassel: Bärenreiter, 1954. 484 p.

_____. Der vollkommene Capellmeister. Transl. Ernest C. Harriss in Johann Mattheson's Der vollkommene Capellmeister: A Revised Translation with Critical Commentary. Michigan: UMI, 1981, 28-920.[BR]

McClain, Ernest G. The Myth of Invariance: The Origin of the Gods, Mathematics and Music from the Rg Veda to Plato. Introduction by Siegmund Levarie. New York: Nicolas Hayes, Ltd., 1976. xxi, 216 p.

_____. "Pythagorean Paper Folding: A Study in tuning and Temperament," in The Mathematics Teacher 63 (March 1970), pp. 233-237.

McGiffert, A.C. Protestant Thought Before Kant. New York: Harper Torchbooks, 1961. xvi, 265 p.

McKeon, Richard. "Rhetoric in the Middle Ages," in Speculum: A Journal of Mediaeval Studies 17, 1 (January, 1942), pp. 1-31.

Miriam Joseph, C.S.C., Sister. Rhetoric in Shakespeare's Time: Literary Theory of Renaissance Europe. New York and Burlingame: Harcourt, Brace & World, 1947, 1962. x, 421 p.

Morley, Thomas. A Plaine and Easie Introduction to Practicall Musicke. 1597. Ed. with an introduction by Edmund H. Fellowes. London: Oxford University Press, 1937. (Orig. publ. 1597). [BR]

Mozart, Wolfgang Amadeus. Briefe und Aufzeichnungen. Gesamtausgabe hrsg. von der Intl. Stiftung Mozarteum, Salzburg. Gesammelt und erlautert von Wilhelm A. Bauer, Otto Erich Deutsch. Kassel: Bärenreiter, 1962-1975. 7 volumes.

_____. Neue Ausgabe sämtlicher Werke. Kassel: Bärenreiter, 1972. Serie II: Bühnenwerke, Werkgruppe 5: Opern und Singspiele, Band 11: Idomeneo. 2 Teilbände. Vorwort von Daniel Heartz, Teilband 1, pp. vii-xxxi.

North, Roger. Roger North's Cursory Notes of Musicke. (ca.1698-ca.1703): A physical, psychological and critical theory. Ed. with introduction by Mary Chan and Jamie C. Kassler. Kensington: University of New South Wales, 1986. [BR]

_____. The Musicall Grammarian. Ed. Mary Chan and Jamie C. Kassler. Cambridge: Cambridge University Press, 1990. (Orig. publ. 1728). [BR]

O'Flaherty, Wendy Doniger. The Rig Veda: An Anthology (One Hundred and Eight Hymns Selected, Translated and Annotated by Wendy Doniger O'Flaherty). London: Penguin Books, 1981. 343 p.

Paget, Laurie. "Monteverdi as Discepolo: Harmony, Rhetoric and Psalm-tone Hierarchies in the Works of Ingegneri and Monteverdi," in Journal of Musicological Research 15.2 (1995), pp. 149-175. [BR]

Peacham, Henry. The Compleat Gentleman. 3rd. Printing. 1627. Facs. Michigan: UMI, 1990. [BR]

Plato. The Dialogues of Plato. Selections from the Translation of Benjamin Jowett, Late Master of Balliol College & Regius Professor of Greek in the University of Oxford; Edited with an Introduction by William Chase Greene, Assistant Professor of Greek and Latin in Harvard University. New York: Boni & Liveright, 1927. xxxix, 535 p.

_____. The Republic. Transl. Desmond Lee. 2nd ed. Harmondsworth: Penguin, 1974. [BR]

Playford, John. An Introduction to the Skill of Music, in Three Books. 12th ed. by Henry Purcell, 1694. Facs. ed. Franklin B. Zimmerman. New York: Da Capo, 1972. [BR]

Preminger, Alex, ed. Princeton Encyclopedia of Poetry and Poetics. Enlarged edition. Frank J. Warnke and O.B. Hardison, Jr., Associate Editors. Princeton: Princeton University Press, 1974. xxiv, 992 p.

Prier, Raymond Adolph. Archaic Logic: Symbol and Structure in Heraclitus, Parmenides, and Empedocles. The Hague - Paris: Mouton, 1976. 163 p.

Quantz, Johann Joachim. On Playing the Flute. Trans. Edward R. Reilly. 2nd ed. New York: Schirmer, 1985. (Orig. publ. 1752). [BR]

Quintilian, Marcus Fabius. Institutio Oratoria, Books I-XII. Transl. H.E. Butler. London: William Heinemann, 1921-1922. [BR]

Radin, Paul. Primitive Religion: Its Nature and Origin. New York: Dover, 1957. x, 322 p. (Unabridged republication of the orig. 1937 Viking Press edition, with a new preface by the author.)

Rameau, Jean-Philippe. Treatise on Harmony. Transl. Philip Gossett. New York: Dover, 1971. (Orig. publ. 1722). [BR]

Ranum, Patricia M. "Audible rhetoric and mute rhetoric: the 17th-century French sarabande," in Early Music 14.1 (1986), pp. 22-39. [BR]

_____. The Harmonic Orator: The Phrasing and Rhetoric of the Melody in French Baroque Airs. [New York]: Pendragon Press, 2001. 496 p. (Pendragon Press Musicological Series). [FF]

Ratner, Leonard G. Classic Music: Expression, Form, and Style. New York: Schirmer Books, 1980. xvii, 475 p.

_____. Convention in Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard G. Ratner. Ed. Wye J. Allanbrook, Janet M. Levy, and William P. Mahrt. Stuyvesant, NY: Pendragon Press, 1992. xxi, 548 p.

_____. Romantic Music: Sound and Syntax. New York: Schirmer Books, 1992. xix, 348 p.

Robbins Landon, H.C., ed. The Mozart Compendium: A Guide to Mozart's Life and Music. Ann Arbor, MI: Broders Press, 1990. 452 p.

Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: W.W. Norton, 1972. 467 p. (Rev. Ed., 1998, 533 p.).

_____. Sonata Forms. Revised Edition. New York: W.W. Norton, 1988. x, 415 p.

Ruhnke, Martin. Joachim Burmeister: Ein Beitrag zur Musiklehre um 1600. Kassel: Bärenreiter, 1955. 181 p. (Schriften des Landesinstituts für Musikforschung, Kiel, Band 5)

Rushton, Julian. "ëLa vittima è Idamanteí: Did Mozart have a Motive?," in Cambridge Opera Journal 3, 1 (1991), pp. 1-21.

_____. W.A. Mozart: Idomeneo. Cambridge: Cambridge University Press, 1993. x, 187 p. (Cambridge Opera Handbooks)

Saint Lambert. Principles of the Harpsichord. 1702. Transl. Rebecca Harris-Warrick. Cambridge: Cambridge University Press, 1984. (Orig. publ. 1702). [BR]

Schering, Arnold. "Die Lehre von den musikalischen Figuren," in Kirchenmusikalisches Jahrbuch 21 (1908), pp.107-114.

Seidel, Wilhelm. "Rhythmus, Metrum, Takt," in Die Musik in Geschichte und Gegenwart 8 (1998), pp. 257-317. (Allgemeine Enzyklopädie der Musik begründet von Friedrich Blume. Zweite, neubearbeitete Ausgabe herausgegeben von Ludwig Finscher. Kassel Basel London New York Prag: Bärenreiter; Stuttgart Weimar: Metzler, 1998.

Shakespeare, William. The Portable Shakespeare. New York: Penguin Books, 1944. viii, 792 p.

Schulenberg, D. "Musical Expression and Musical Rhetoric in the Keyboard Works of J. S. Bach," in Seymour L. Benstock, ed., Johann Sebastian: A Tercentenary Celebration. Prepared under the auspices of Hofstra University [Contributions to the Study of Music and Dance 19]. Westport, Conn: Greenwood Press, 1992, pp. 95-109.

Smend, Friedrich. Bach-Studien: Gesammelte Reden und Aufsätze. Hrsg. Christoph Wolff. Kassel: Bärenreiter, 1969. 280 p.

Solomon, Maynard. Mozart: A Life. New York: HarperCollins, 1995. xvi, 640 p.

Sonnino, Lee A. A Handbook to Sixteenth-Century Rhetoric. London: Routledge & Kegan Paul, 1968. ix, 278 p.

Stambaugh, Joan. "Music as a Temporal Form," in The Journal of Philosophy 61, 9 (April 23, 1964), pp. 265-280.

_____. The Real is Not the Rational. Albany: State University of New York Press, 1986, xi, 130 p.

Sulzer, Johann Georg. Allgemeine Theorie der schönen Künste in einzeln, nach alphabetischer Ordnung der Kunstworter aufeinanderfolgenden, Artikeln abgehandelt. Intro. by Giorgio Tonelli. Hildesheim: G. Olms, 1967. 5 volumes. Reprint of the 2nd revised edition, Leipzig, 1792.

Tarling, Judy. The Weapons of Rhetoric: A Guide for Musicians and Audiences. St. Albans, Herts, UK: Corda Music, 2004. 271 p., 100+ musical examples. Available at orders@cordamus.demon.co.uk or Corda Music Publications, 183 Beech Road, St Albans, Herts AL3 5AN, UK. [JT]

From the promotional material at the Corda Music site, we read:

Comparisons between oratory and the performance of music are to be found from the beginning of the 16th century and continue until the late 18th century. Thomas Mace (1676) asks the musician to show as much wit and variety as an orator. Geminiani (1751) compares all good music to a discourse, and recommends that the musician should use the same effects as an orator. Quantz (1752) requires the musician to use the skills of an orator to become the master of the hearts of his listeners.The absence of further detail implies that the musicians of the day knew what this meant in practice.

Using the works of the classical rhetoricians Cicero and Quintilian as a framework for the book, their ideas are traced through the Tudor classroom and popular Renaissance eloquence books through to the late 18th century. Concentrating on performance techniques that aid communication of musical ideas to an audience, historical source material is used to demonstrate how to hold the attention of the listener and at the same time move and delight him, as in the classical oration. Quotations from the rhetoric manuals, Shakespeare and the Bible are complemented by over one hundred musical examples, drawn mainly from the 17th and 18th centuries, which illustrate the connection between speaking and playing in the rhetorical style.

Subjects covered in the book include: A survey of the sources from ancient times, Renaissance educational method, the iconography of eloquence and persuasion, the audience, decorum, stage manner, style, imitation, affect, 'the passions', word painting, allegory, speech-based delivery, tone quality, dynamics, length of notes or syllables, exclamations, emphasis, humour, nerves, sprezzatura, articulation, rests, sighs, surprise, silence, tempo, structure, rhythm, ornamentation, figures, repetition, and rhetorical schemes.

Taylor, Thomas. The Theoretic Arithmetic of the Pythagoreans. Introductory essay by Manly Hall. New York: Samuel Weiser, 1972. Orig. pub. London 1816.

Tillich, Paul. The Courage to Be. New Haven and London: Yale University Press, 1952. ix, 197 p.

_____. Dynamics of Faith. New York: Harper Torchbooks, 1958. viii, 136 p.

_____. A History of Christian Thought: From Its Judaic and Hellenistic Origins to Existentialism. Ed. Carl E. Braaten. New York: Simon and Schuster, 1967, 1968. xlii, 550 p.

_____. Sytematic Theology. Vol. I: Reason and Revelation, Being and God; Vol. II: Existence and The Christ; Vol. III: Life and the Spirit, History and the Kingdom of God. Chicago: The University of Chicago Press, 1951-1963.

Toft, Robert. "Musicke a Sister to Poetrie: Rhetorical artifice in the passionate airs of John Dowland," in Early Music 12.2 (1984), pp. 190-199. [BR]

Tuchman, Barbara W. The March of Folly: From Troy to Vietnam. New York: Alfred A. Knopf, 1984. xiv, 447 p.

Tufts University. The Perseus Project. Web resource: http://www.perseus.tufts.edu, frequently updated. Index of terms and usage in classical sources.

Tuve, Rosemond. Elizabethan & Metaphysical Imagery: Renaissance Poetic and Twentieth-Century Critics. Chicago & London: University of Chicago Press, 1947. xii, 436 p.

Unger, Hans-Heinrich. Die Beziehungen zwischen Musik und Rhetorik im 16.-18. Jahrhundert. Hildesheim: Georg Olms, 1969. 173 p. Reprografischer Nachdruck der Ausgabe Würzburg 1941.

van der Leeuw, G. Religion in Essence and Manifestation. 2 vols. Transl. J.E. Turner with appendices to the Torchbook edition incorporating the additions of the second German edition by Hans H. Penner. Gloucester, Mass.: Peter Smith, 1967. Orig. pub. as Phänomenologie der Religion, Tübingen, 1933.

Vickers, Brian. In Defence of Rhetoric. New York: Oxford University Press, 1988. [BR]

_____. "Figures of Rhetoric/Figures of Music?," in Rhetorica 2, 1 (1984), 1-44. [TT]

Walker, D.P. Spiritual & Demonic Magic from Ficino to Campanella. Intro. by Brian P. Copenhaver. University Park, Pennsylvania: The Pennsylvania State University Press, 2000. x, 244 p. (Orig. publ. as Vol. 22, Studies of the Warburg Institute, University of London, 1958).

Webb, Daniel. Observations on the Correspondence Between Poetry and Music. Facs. ed. New York: Garland, 1970. (Orig. publ. 1769). [BR]

Weisstein, Ulrich, ed. and annotated. The Essence of Opera. New York: W.W. Norton, 1964. xii, 372 p.

Wilde, Jean T., and William Kimmel, eds. The Search for Being: Essays from Kierkegaard to Sartre on the Problem of Existence. Introduction by William Kimmel. New York: Noonday Press, 1962. 556 p.

Williams, P. "The Snares and Delusions of Musical Rhetoric: Some Examples from Recent Writings on J. S. Bach," in Reidemeister, P. and V. Gutman, eds., Alte Musik: Praxis und Reflexion, Winterthur/Schweiz: Amadeus, 1983, pp. 230-240.

Wilson, B., George J. Buelow, and P.A. Hout, "Rhetoric and Music," in The [New] New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 21, pp. 260-275. [TT]

Wilson, Edward O., "Back from Chaos," Atlantic Monthly 281, 3 (March 1998), 41-62.

_____. Consilience: The Unity of Knowledge. New York: Random House, 1997. 352 p.

Winn, James Anderson. Unsuspected Eloquence: A History of the Relations between Poetry and Music. New Haven: Yale University Press, 1981. [BR]

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