Sound speech

from Wikipedia, the free encyclopedia

The sound speech is a musical form and design principle, especially in the 18th century. The term was coined by Johann Mattheson in his work The Perfect Capellmeister . It is not uncommon for the sound speech to be combined with another musical form .

history

The sequence of the sound speech is based on the ancient speech . Mattheson writes: “Our musical disposition differs from the rhetorical arrangement of a mere speech only in the reproach, object or object; then she has to watch those six pieces that are prescribed for a speaker […] ”. As an example, he analyzes an aria by Benedetto Marcello .

sequence

The sound speech is divided into the following six parts:

exordium Input, in what purpose and intent are shown
narration the report, a kind of description of the situation
propositio the application, the actual lecture
confirmatio the affirmation
confutatio the dissolution or refutation
conclusio or peroratio   the end

Confutatio and confirmatio can alternate several times.

Examples

Playbill

The form of a musical speech corresponds roughly to:

The portrait aria (“This portrait is enchantingly beautiful”) and Pamina's aria (“Oh, I feel”) from the opera Die Zauberflöte by Wolfgang Amadeus Mozart .

Oh, I feel it, it's gone

Also Erlkönig of Franz Schubert can be seen as a sound speech.

Likewise, in the field of instrumental music, for example in Johann Sebastian Bach's Well-Tempered Clavier  I (the fugue in C minor or the fugue in B minor), one can speak of a sound speech.

literature

  • Reinhard Amon, Gerold Gruber: Sound speech . In: Lexicon of musical form . Doblinger, Vienna 2011, ISBN 978-3-902667-27-4 , pp. 182-184.
  • Nikolaus Harnoncourt : Music as a sound speech: Paths to a new understanding of music. Residence, Salzburg 1982, ISBN 3-7017-1379-0 . Paperback edition: 7th edition. Bärenreiter, Kassel 2014, ISBN 978-3-7618-1098-9 .
  • Peter Paul Kaspar: Sound speech. Music as language. Styria, Vienna etc. 2008, ISBN 978-3-222-13244-5 .
  • Manfred Peters: Johann Sebastian Bach. What does "sound = speech" mean? . Edition Text & Criticism, Munich 2003, ISBN 3-88377-731-5 .
  • Manfred Peters: Johann Sebastian Bach as a sound speaker. The disposition of the Roman oratorio as a contribution to the understanding of the form of selected instrumental fugues . Pfau, Saarbrücken 2005, ISBN 3-89727-300-4 .
  • Manfred Peters: Johann Sebastian Bach as a sound speaker (II). The instrumental concerts . Pfau, Saarbrücken 2010, ISBN 978-3-89727-425-9 .
  • Manfred Peters: Johann Sebastian Bach as a sound speaker (III). 14 + 1: The inventions . Pfau, Saarbrücken 2013, ISBN 978-3-89727-489-1 .

Individual evidence

  1. ↑ a b Johann Mattheson: The perfect Capellmeister . Hamburg 1739, pp. 235-244 ( online ; PDF).
  2. ↑ Reinhard Amon, Gerold Gruber: sound speech . In: Lexicon of musical form . Doblinger, Vienna 2011, ISBN 978-3-902667-27-4 , p. 182.
  3. ↑ Reinhard Amon, Gerold Gruber: sound speech . In: Lexicon of musical form . Doblinger, Vienna 2011, ISBN 978-3-902667-27-4 , pp. 182-183.
  4. ↑ Reinhard Amon, Gerold Gruber: sound speech . In: Lexicon of musical form . Doblinger, Vienna 2011, ISBN 978-3-902667-27-4 , p. 184.