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Chapter 1 39
figurae principales and figurae minus principales. i7ß Although Janovka did not
attribute affective characteristics to the twelve church modes as Kircher did, 179
he
stressed the figures' role in arousing the affections:
[... ] The musical figures consist of certain musical passages in which
specific affections of the soul are manifested, for example, love, joy,
ferocity, violence, dignity, modesty, moderation, piety, compassion, et
cetera. 80
Contemporary with Tomä3 Baltazar Janovka was Mauritius Vogt (1669-
1730), a Bohemian composer and theorist, 181 who published his comprehensive
musical treatise Conclave thesauri magnae artis musicae in 1719. After dealing
with historical and speculative matters (including a section on the organ and organ
building), church modes, and aspects of polyphonic music in the first three parts
of his Conclave, Vogt discussed two classifications of the musical-rhetorical
figures: figurae simplices (embracing vocal and instrumental embellishments) and
figurae ideales (incorporating musical-rhetorical figures).
178 Following Kircher's classifications, figurae principales included fuga, commissura, and
syncopatio, while as minus principales Janovka listed pausa, stenasmus (suspiratio), anaphora
(repetitio), climax (gradatio), complexus, similiter desinens, antitheton (contrapositum), anabasis
(ascensio), catabasis (descensus), circulatio, fuga alio sensu, assimilatio, and abruptio. Other
figures mentioned in other parts of the dictionary included: hyperbatus, hypobatus, falso bordone
(pleonasmus), accentus (Einfall), colloratura (diminutiones or passagae), coule, harpegiatura,
tirata, tremulo, and trilla (see Bartel, pp. 126-27 and 450).
179
Toma?: Baltazar Janovka and Johann David Heinichen, together with Johann Mattheson, were
the first advocates of the tonal system. Janovka first ignored the traditional church modes and
presented the twenty-four major and minor keys in ascending chromatic order. For the whole
issue, see Joel Lester, `The Recognition of Major and Minor Keys in German Theory: 1680-1730',
Journal ofMusic Theory, 22 (1978), 65-103 (pp. 77-78).
180
Tom' Baltazar Janovka, Clavis ad thesaurum magnae artis musicae (Prague: Georg Labaun,
1701; repr. Amsterdam: F. Knuf, 1973), p. 46, cited and translated by Bartel, p. 126.
181 Milan Poltolka, 'Vogt, Mauritius', 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), xxvi, pp.
870-71.
182 See Bartel, pages 128 and 452. Tremula, trilla, accentus, mezocircolo (circulus), curia, groppo,
tirata, messanza, could, harpegiatura, herbeccio and passaggio were classified as figurae
simplices, while as figurae ideales Vogt listed anabasis, catabasis, anadiplosis, anaphora,
antistaechon, antitheton, aposiopesis, apotomia, climax, ecphonesis, epanalepsis, ethophonia
(mimesis), emphasis, polyptoton, polysyntheton, schematoeides, metabasis, synaeresis, stenasmus,
tmesis, hypotyposis, prosopopoeia, and prosonomasia. Vogt adopted the classification of the
figures into simplices and ideales from W. C. Printz (1641-1717), who, influenced by Italian
music thought, differentiated between ornamental embellishments and musical-rhetorical figures
(see pages 62-63 of this chapter).
182