For other uses, see Musica poetica (disambiguation).
Musica poetica was a term commonly applied to the art of composing music in sixteenth- and seventeenth-century German schools and universities. Its first known use was in the Rudimenta Musicae Planae (Wittenberg: 1533) of Nicolaus Listenius [de; ru]. Previously, music had been divided into musica theoretica and musica practica, which were categorised with the quadrivium and trivium, respectively. Since music of the time primarily meant vocal music, it was natural for theorists to make analogies between the composition of music and the composition of oratory or poetry. Hence, the term musica poetica.
Analogies between music and the rhetorical arts were made on several levels. Gallus Dressler (1563) suggested to liken the structure of a musical composition with that of a speech, as outlined in classical sources, dividing it into such sections as exordium, medium, and finis (literally, "beginning", "middle", and "end"). Another kind of analogy was to liken the rules or grammar of composition with those of speech, as illustrated by Joachim Burmeister's use of tautoëpia to label consecutive fifths and octaves (which were generally regarded as illegal except in special circumstances).
Most significantly, though, special melodic, harmonic, or technical devices in music began to be associated with the figures of classical oratory: for example, a rising or falling sequence in music was usually called climax in the literature of musica poetica. However, it must be pointed out that such analogies were not always direct: terms used in musica poetica do not always correspond equivalently to their rhetorical counterparts (for example, in oratory, anaphora means a straightforward repetition of a word, but in music it can denote various kinds of repetitive device, such as the development of a subject through imitation (fugue); also, the presence of a rhetorical figure in the text being set to music did not imply an automatic application of that figure's musical equivalent (that is, it was never mandatory for composers to respond to such verbal ideas as "going up" with rising musical phrases (known as anabasis or ascensus in musica poetica).
A knowledge of both classical rhetoric and musica poetica can greatly enhance the listener's understanding and appreciation of works composed in the sixteenth and seventeenth centuries, especially by such figures as Heinrich Schütz and Giacomo Carissimi. However, it is also important not to seek examples of musical figures on every page; while rhetoric and musical theory were strongly associated, the nature of this association was complex and variable.
Musicapoetica was a term commonly applied to the art of composing music in sixteenth- and seventeenth-century German schools and universities. Its first...
music was an art full of dignity, like eloquence. In Musica autoschédiastikè and MusicaPoetica Burmeister provided a list of musical soloecisms, musical...
book MusicaPoetica by Dietrich Bartel. On page 22, Bartel quotes Walther's definition of musicapoetica, or musical rhetoric, as: "MusicaPoetica or musical...
century, second only to Michael Praetorius. Herbst's two books, Musica practica and Musicapoetica, were hugely influential: except for the titles, they were...
ISBN 978-0-19-804094-1. Retrieved 6 August 2019. Bartel, Dietrich (1997). MusicaPoetica: Musical-Rhetorical Figures in German Baroque Music. University of Nebraska...
31926/but.pa.2019.12.61.7. S2CID 216584966. Bartel, Dietrich (1997). MusicaPoetica: Musical-Rhetorical Figures in German Baroque Music. Lincoln and London:...
treatise MusicaPoetica, as well as important extracts from two of Burmeister's other treatises, Hypomnematum musicae poeticae (1599) and Musica autoschédiastikè...
I, p. 9, Vol. VII. Edelmann, Bernd. "Carl Orff: Vokale Musik oder: Musicapoetica". In Henkel & Messmer (2021), pp. 191 (190–217). "Chronology". Carl...
awarded record prizes. As a music editor, he and his publishing house MusicaPoetica focus on less-known vocal and instrumental music of the 17th and 18th...
ISBN 978-1-4094-9422-5. Retrieved 26 July 2020. Dietrich Bartel (1 July 1997). MusicaPoetica: Musical-Rhetorical Figures in German Baroque Music. U of Nebraska Press...
musical school – is named after him. Compendiolum musicae (1548) De musicapoetica (1548) Ad musicam practicam introductio (1550) Randel Don (1996). The...
Redemptio Adeste omnes fideles, Edition MusicaPoetica, St. Peter-Ording 2008 Surrexit pastor bonus, Edition MusicaPoetica, St. Peter-Ording 2008 Laudate Dominum...
politics Music history Music psychology The Music Trades (magazine) Musicapoetica Musical gesture New musicology Opus (classical record magazine) Organology...
in Britain 1960-1975 (Boydell Press 2015), pp. 19-20, and Chap. 11 'MusicaPoetica', p. 253-274 Andrew Burn. 'Marsh, Roger', in Grove Music Online (2001)...
therapy Music tourism Music transposer Music venue MusicWriter Musica ficta MusicapoeticaMusica reservata Musical acoustics Musical argument Musical composition...
the director of Arsgravis and participates in the research group Aula MúsicaPoètica. All of his many publications have international recognition. (2012)...
Choir. Withdrawn because of licensing problems. Edition from Edition MusicaPoetica, edited by Cosimo Stawiarski (June 2007) Reinhard Keiser. Seelige Erlösungs-Gedancken...
in both Porphyry's commentary on Ptolemy's Harmonics and Philodemus's De musica is the same Archestratus who wrote the two volume Περὶ αὐλητῶν [On auletes]...
Kirchenliedtexte; Schütz-Jahrbuch 1982/83, pp. 57–67. Heinrich Schütz und die musicapoetica, Schütz-Jahrbuch 1993, pp. 7–23. Zur Geschichte der Heinrich-Schütz-Gesellschaft;...
Palace in Prague, until 31 May 2015. Bartel, Dietrich (1 July 1997). MusicaPoetica: Musical-Rhetorical Figures in German Baroque Music. University of Nebraska...
Hamburg. Komponieren in einer frühneuzeitlichen Metropole, Bern 2019 (Musicapoetica, 2), p. 26. Jürgen Neubacher, „Selle, Sellius, Thomas“, in: MGG online...
the composition of the Renaissance motet. Dressler's explication of musicapoetica can be summarized in two principles: the application of the rhetorical...
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