Rhetoric and Musical Form in the Epoch of French Baroque
Article Sidebar
Main Article Content
Abstract
The article reveals some deep interrelation between rhetoric and the French doctrine of musical form. The author analyzes such fundamental categories of musical form at the time of French Baroque as motif, membre, phrase, période and others, as well as traces their evolution during the 17th and 18th centuries in the context of theories by Marin Mersenne, Monsieur de Saint Lambert and Jean Jacques Rousseau. The article contains a table of correspondences between the 18th-century French theorists’ rhetoric and musical terms on the one hand, and the music terminology used in today’s Russia on the other hand.
Keywords: rhetoric, musical form, France, Baroque, Mersenn, Saint Lambert, Rousseau, period, motif
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Мессиан О. Техника моего музыкального языка / пер. и коммент. М. Чебуркиной. – М., 1995.
3. Способин И. Музыкальная форма. – М.; Л., 1947.
4. Холопов Ю. Введение в музыкальную форму / ред. Т. Кюрегян, В. Ценова. – М., 2008.
5. Холопов Ю. Марен Мерсенн // Холопов Ю., Кириллина Л. и др. Музыкально-теоретические системы. – М., 2006. – С. 174–177.
6. Чебуркина М. Риторика и «страсти» в системе французской органной музыки Барокко // Музыковедение. – 2011. – № 8. – С. 7–17.
7. Brossard (de) S. Dictionnaire de musique. – Paris, chez Christophe Ballard, 1703.
8. Godefroy F. Dictionnaire de l’ancienne langue française et de tous ses dialectes du IXe au XVe siècle (en 10 volumes) ; Vol. 5. – Paris, F. Vieweg, Émile Bouillon, 1880–1902.
9. Mersenne M. Harmonie universelle. Tome I. – Paris, chez Sébastien Cramoisy, 1636.
10. Rousseau J.-J. Dictionnaire de musique. – Paris, chez la Veuve Duchesne, 1768.
11. Saint-Lambert (de) M. Les principes du clavecin Contenant une Explication exacte de tout ce qui concerne la Tablature et le Clavier. – À Paris, Chez Christophe Ballard, M. DCCII (1702).
12. Saint-Lambert (de) M. Nouveau traité de l’accompagnement du clavecin, de l’orgue, et des autres instruments. – À Paris, Chez Christophe Ballard, M. DCCVII (1707).