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Chapter 1 13
texts had disseminated the idea of the close alliance of music and rhetoric, and the
resulting evocation of certain emotional reactions in the listener. Music was to
reflect the text's syntax and structure, as well as represent vividly the ideas and
portray the related affections. Music's power to stir the human spirit was also
underscored by Aristotle and Cicero. 60 However, it was Quintilian who drew a
clear and explicit analogy between rhetoric and music, 61 and devoted much of his
didactic work Institutio oratoria to the education of the orator in order to instruct
him how to direct and move the affections of the audience. 62 Among other studies
necessary for the education of the orator, such as astronomy and geometry,
Quintilian included the art of music, when in the tenth chapter of his first book of
Institutio oratoria he stated:
But let us discuss the advantages which our future orator may
reasonably expect to derive from the study of Music. Music has two
modes of expression in the voice and in the body; for both voice and
body require to be controlled by appropriate rules. [... ] Now I ask you
whether it is not absolutely necessary for the orator to be acquainted
with all these methods of expression which are concerned firstly with
gesture, secondly with the arrangement of words and thirdly with the
inflexions of the voice, of which a great variety are required in
pleading. 63
Quintilian also associated eloquence with the stirring of the emotions of the
audience, and in the same chapter of the first book he continued, stating:
60 For further references to the original sources, see George J. Buelow, `Teaching Seventeenth-
Century Concepts of Musical Form and Expression: An Aspect of Baroque Music', College Music
Symposium, 27 (1987), 1-13 (pp. 7-13). See also P. R. Coleman-Norton, `Cicero Musicus',
Journal of the American Musicological Society, 1.2 (Summer 1948), 3-22 (pp. 13-14).
61 Neubauer, The Emancipation of Music from Language, pp. 31-41.
62 The terms affect and affection, used in English literature (German affekt), are derived from the
Latin verb adficio (or aff icio), which means to influence, affect. The Greek term that stands for
this meaning is pathos (adOoc)>English
passion. For a comprehensive
study regarding definitions
of the term and the so-called Theory of Affections (Affektenlehre), see George J. Buelow, 'Johann
Mattheson and the Invention of the Affektenlehre', in New Mattheson Studies, ed. by G. J. Buelow
and H. J. Marx (Cambridge: Cambridge University Press, 1983), pp. 393-407, who denounces
the
modern literature which tends to credit Johann Mattheson with the invention of the concept of
affections.
63 The Institutio Oratoria of Quintilian, trans. by H. E. Butler, Loeb Classical Library, 4 vols,
(London: Heinemann; Cambridge, MA: Harvard University Press, 1920-22), i (1920; repr. 1969),
Book I. x. 22-23,170-71.