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Musical rhetoric : foundations and annotation schemes /
Discourse analysis and rhetoric are very much developed in communication, linguistics, cognitive science and artificial intelligence. Besides theoretical investigations, discourse analysis is central in a number of application areas such as dialogue and negotiation, the semantic web, question answer...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
London :
Wiley,
2014.
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| Colección: | FOCUS Series.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover page; Half-Title page; Title page; Copyright page; Contents; Preface; 1: An Introduction to Classical Rhetoric; 1.1. A few basic definitions; 1.2. The structure of rhetoric; 1.2.1. Rhetoric and communication; 1.2.2. The structure of classical rhetoric; 1.2.3. The invention step; 1.2.4. The arrangement; 1.2.5. The style or elocution step; 1.2.6. The delivery or action; 1.2.7. The facets of rhetoric; 1.3. Some figures of speech; 1.3.1. Introduction; 1.3.2. The major figures of speech of interest in music rhetoric; 1.4. Argumentation and explanation.
- 1.5. Conclusion: a few historical milestones of traditional rhetoric1.6. A few historical references for classical rhetoric; Classical period; Medieval; Renaissance; Eighteenth century; 2: Language, Music and the Rhetoric Discourse; 2.1. Music and language; 2.1.1. On the relations between language and music; 2.1.2. Going into the details of music parameters, music for rhetoric; 2.1.3. Music and rhetoric; 2.2. A few historical milestones of music rhetoric emergence and evolution; 2.2.1. The Middle Ages and the Renaissance; 2.2.2. The transition between the Renaissance and the Baroque period.
- 2.2.3. The Baroque period2.2.4. The Classical period; 2.2.5. The Romantic period; 2.3. Main contemporary trends in music rhetoric; 3: The Symbolism of Musical Elements; 3.1. Symbolic and perceptual properties of modes and tonalities; 3.2. Perceptual and symbolic properties of intervals; 3.3. Musical figures and their role in rhetoric; 3.4. Figures of rhythm and their roles in rhetoric; 3.5. Motive alternations; 3.6. Figures of counterpoint; 3.7. The symbolism of numbers and proportions; 3.8. The rhetoric contents of classical forms; 3.8.1. The perception of large forms.
- 3.8.2. The simple bi- and tripartite forms3.8.3. The sonata forms; 3.9. Conclusion; 4: Feature Structures for Representing Musical Constructions; 4.1. Feature structures in language; 4.2. Representation of a melody by a feature structure; 4.3. From musical motives to polyphony; 4.4. Dealing with harmony; 4.5. A few generic operations of feature structures; 4.5.1. Transformations by augmentation or diminution; 4.5.2. Mirror forms; 4.5.3. Reverse forms; 4.5.4. A few other transformations; 4.5.5. Expressive power of this formalism; 4.6. Elements of annotation of musical structures in XML.
- 4.6.1. Basic feature structures4.6.2. Advanced XML annotations for two-dimension structures; 4.6.3. Figures of sound in XML; 4.7. Perspectives; 5: A Rhetoric Analysis of Musical Works; 5.1. Discourse theories in linguistics; 5.1.1. The rhetorical structure theory; 5.1.2. The pragma-dialectic movement; 5.2. The rhetoric of the stylus phantasticus; 5.3. The rhetoric and argumentation dimensions of J.S. Bach's C. minor Passacaglia; 5.3.1. The global structure and the symbolic of numbers; 5.3.2. The structure of the argumentation in the Passacaglia; 5.4. The dialectics of the personality split.