The interdisciplinarity of rhetoric and its influence in colonial Brazilian music

Abstract: In certain music of the late sixteenth century to early nineteenth century, rhetoric shows itself as an indispensable component for its use, combined with grammar, as well as its adjustment in the musical structures of the time, to be understood and clarified within the musical statement. This process went through a systematization and theorization improved by several authors whose postulate was based on the masters of Classical Rhetoric, thus establishing a terminology known as Musica Poetica. Resulting from this methodology, several treatises highlighted the means by which music could be elaborated in a discourse organized and ordered by rhetorical elements aimed at eliciting and moving the affections of the listener. In this regard, the field of Music through musicology, performance and theory-analysis, in the last fifty years, has been showing interest in the subject developing countless researches through new analytical means, aimed at clarifying the relationship between music and affection. Therefore, this article intends to examine the use of rhetoric to dialogue with other areas of human knowledge, namely, Music, Philosophy and Hermeneutics, besides its influence and use in the Brazilian colonial music by some composers.

摘要：16世纪末至19世纪初的部分音乐作品中，修辞学（rhetoric）作为不可或缺的组成部分被用于创作实践，与语法相结合，并适配当时的音乐结构，以期在音乐表述中实现意义的明晰与阐释。这一研究进程历经系统化与理论化演进，诸多学者以古典修辞学（Classical Rhetoric）大师的理论为核心立论基础，对其加以完善，由此形成了被称为“音乐诗学（Musica Poetica）”的专门术语体系。基于这一研究范式，诸多学术论著阐述了如何依托修辞要素构建规整有序的音乐话语，以铺陈音乐内容，进而唤起并触动听众的情感共鸣。有鉴于此，近五十年来，音乐学领域依托音乐学研究、演奏实践与理论分析等路径，对该主题展现出浓厚研究兴趣，并通过全新的分析手段开展了大量相关研究，旨在厘清音乐与情感之间的内在关联。基于上述研究背景，本文旨在探讨修辞学的应用路径，以期与音乐学、哲学及诠释学（Hermeneutics）等其他人文知识领域展开跨学科对话，同时梳理修辞学在巴西殖民时期音乐创作中被部分作曲家运用的情况及其产生的影响。