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Chapter 1
fuga realis, metalepsis, hypallage, apocope, noema, analepsis, mimesis,
anadiplosis, symblema, syncopa or synaeresis, pleonasmus, auxesis, pathopoeia,
hypotyposis, aposiopesis, and anaploce. The second branch comprised melodic
figures (figurae melodiae) that were presented by a single voice, and consisted of
parembole, palilogia, climax, parrhesia, hyperbole, and hypobole. The last
category embraced figures that did not belong solely to either of the others,
namely ornaments common to harmony and melody (figurae tam harmoniae
quam melodiae), and included congeries (synathroismus), faux bourdon (simul
procedentia), anaphora, and fuga imaginaria. 138
Reflecting the traditional rhetorical division of figures into word-figures
(figurae dictionum) and sentence-figures (figurae sententiarum), Burmeister drew
the parallel between figurae harmoniae and figurae sententiarum, on the one
hand, and figurae melodiae and figurae dictionum, on the other. 139 Harmonic
figures, similar to rhetorical sentence-figures, involved all voices and affected the
whole structure of a composition. According to Burmeister, "[... ] an ornament of
harmony [is] a harmonic period consisting of any number of voices [that] adopts a
new character that is incompatible with a simple arrangement consisting purely of
consonances. "14° On the other hand, melodic figures were applied to one
individual voice, and like word-figures, did not affect the entire structure of a
composition. tot
In ancient oratory, figures were the artistic means employed by the orator in
order to deviate from ordinary speech. Accordingly, Burmeister's figures were
considered expressive devices suitable to underline the meaning of the text and
tools indispensable for musical construction. 142 Many of his figures were given
names borrowed directly from rhetoric, maintaining a strong bond with 'the
138 Musical Poetics, by Joachim Burmeister, pp. 156-57.
139 Leon W. Couch III, p. 15.
140 "Harmoniae est, quo periodus aliqua harmoniae ex quotenis etiam ea confecta sit vocibus,
novum induit habitum, alienum a simplici consonantiarum absolutarum nexu" (Musical Poetics,
b Joachim Burmeister, pp. 156-57).
11 ibid., pp. 156-57: "Melodiae ornamentum est, quod unicae saltem voci omatum addit. " See also
Bartel, pp. 97-98.
142 Benito V. Rivera and Martin Ruhnke, 'Burmeister, Joachim', in The New Grove Dictionary of
Music and Musicians, ed. by S. Sadie and J. Tyrrell, 2"d edn, 29 vols (London: Macmillan
Publishers Ltd, 2001), ii, pp. 635-37 (p. 636).
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