The first part of the article outlines the tradition which gave shape to the Baroque musical rhetoric. Among its constitutive elements were the style of the Florentine Camerata with its insistence on the role of speech in musical composition; Athanasius Kircher’s doctrine of the affects (Affektenlehre); Johann Mattheson’s model of the aria and Joachim Burmeister’s idea of musical figures. The second part of the article contains a rhetorical interpretation of Johann Sebastian Bach’s Cantata No.4 BWV "Christ lag in Todesbanden". The interrelationship between the words and the musical structure of the cantata is described and analyzed with the help of concepts from the field of musical rhetoric. The summary considers the significance of this interpretation of Bach’s composition for contemporary musical life.
pl
dc.subject.pl
literatura
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dc.subject.pl
muzyka
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dc.subject.pl
Jan Sebastian Bach
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dc.subject.en
literature
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dc.subject.en
music
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dc.subject.en
Johann Sebastian Bach
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dc.description.volume
53
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dc.description.number
6 (315)
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dc.description.publication
0,78
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dc.identifier.doi
10.2478/v10273-012-0045-8
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dc.identifier.eissn
2300-1968
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dc.title.journal
Ruch Literacki
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dc.language.container
pol
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dc.date.accession
2017-11-05
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dc.affiliation
Wydział Polonistyki
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dc.subtype
Article
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dc.rights.original
CC-BY-NC-ND; otwarte czasopismo; ostateczna wersja wydawcy; w momencie opublikowania; 0
Except where otherwise noted, this item's license is described as Udzielam licencji. Uznanie autorstwa - Użycie niekomercyjne - Bez utworów zależnych 3.0