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Ex. 32. BWV 537: Fantasia con Fuga: exclamatio figure (bars 1-9) ....................... 167 Ex. 33. BWV 537: Fantasia con Fuga: `sighing' motive (bars 10-14) ..................... 167 Ex. 34. BWV 537: Fantasia con Fuga (bars 32-41) ................................................. 168 Ex. 35. BWV 992: Capriccio sopra la lontananza del suofratro dilettissimo (bars 33-43) .................................................................................. 169 Ex. 36. BWV 644: Ach wie flüchtig, ach wie nichtig (bars 1-3) ............................... 170 Ex. 37. BWV 644: Ach wie flüchtig, ach wie nichtig (bars 7-10) ............................. 170 Ex. 38. BWV 628: Erstanden ist der heil'ge Christ (bars 1-5) ................................. 171 Ex. 39. BWV 615: In dir ist Freude (bars 1-8) ......................................................... 172 Ex. 40. BWV 615: In dir ist Freude (bars 9-12) ....................................................... 172 Ex. 41. BWV 615: In dir ist Freude (bars 43-52) ..................................................... 173 Ex. 42. BuxWV 156: Toccata in F major (bars 1-7) ................................................. 179 Ex. 43a. BuxWV 142: Prelude in E minor: narratio fugue ...................................... 183 Ex. 43b. BuxWV 142: Prelude in E minor: confirmatio fugue ................................. 183 Ex. 43c. BuxWV 142: Prelude in E minor: confirmatio (gigue) fugue ..................... 183 Ex. 44. BuxWV 153: Prelude in A minor: exordium (bars 1-14) .............................. 185 Ex. 45. G. Frescobaldi: Toccata in F major (bars 85-89) .......................................... 186 Ex. 46. BuxWV 153: bars 13-14 (detail) ................................................................... 186 Ex. 47. BuxWV 153: exordium and narratio (bars 15-26) ....................................... 187 Ex. 48. BuxWV 153: narratio (bars 27-39) .............................................................. 187 Ex. 49. BuxWV 153: narratio (bars 40-53) .............................................................. 188 Ex. 50. BuxWV 153: narratio, internal peroratio, and confirmatio (bars 54-68) 189 .................................................................................. Ex. 51. BuxWV 153: confirmatio (bars 69-86) 189 ......................................................... Ex. 52a. BuxWV 153: narratio subject (bars 21-23) 190 ................................................ Ex. 52b. BuxWV 153: confirmatio answer (bars 73-75) 190 ........................................... Ex. 53. BuxWV 153: confirmatio and amplificatio (bars 87-104) 190 ............................ Ex. 54. BuxWV 153: peroratio (bars 105-113) 191 ......................................................... Ex. 55. BuxWV 153: peroratio (bars 114-124) 191 ......................................................... Ex. 56. BWV 551: Prelude in A minor: exordium and narratio (bars 1-14) ............. 194 Ex. 57. BuxWV 149: Prelude in G minor: exordium (bars 4-6) 194 ................................ Ex. 58. BWV 625: Christ lag in Todesbanden: superjectio pedal (bars 1-2)............ 194 Ex. 59. BWV 551: narratio subject, bars 12-13 (detail) 195 ........................................... Ex. 60. BWV 551: narratio (bars 15-22) 195 .................................................................. Vll
Ex. 61. BWV 551: narratio and internal peroratio (bars 23-31) .............................. 196 Ex. 62. BWV 551: digressio and confirmatio (bars 32-46) ....................................... 197 Ex. 63a. BWV 551: confirmatio, bars 39-40 (subject A) .......................................... 198 Ex. 63b. BWV 551: confirmatio, bars 39-40 (subject B) .......................................... 198 Ex. 64. BWV 551: conf rmatio (bars 47-54) ............................................................. 198 Ex. 65. BWV 551: confirmatio and amplificatio (bars 55-64) .................................. 199 Ex. 66. BWV 551: amplificatio (bars 65-72) ............................................................ 199 Ex. 67. BWV 551: amplificatio and peroratio (bars 73-80) ..................................... 200 Ex. 68. BWV 551: peroratio (bars 81-89) .....................................:........................... 200 Ex. 69. BWV 566: Toccata in E major: exordium (bars 1-14) .................................. 203 Ex. 70. BWV 566: pathopoeia (bars 15-24) .............................................................. 204 Ex. 71. BWV 566: exordium (bars 25-33) ................................................................. 205 Ex. 72. BWV 566: exordium, bars 1-2 (detail) .......................................................... 206 Ex. 73. BWV 566: exordium, bars 27-29 (detail) ...................................................... 206 Ex. 74. BWV 566: narratio subject, bars 34-36 (detail) ........................................... 206 Ex. 75. BWV 566: narratio pedal, bars 49-52 (detail) .............................................. 206 Ex. 76. BWV 566: narratio: auxesis figure (bars 69-71) .......................................... 207 Ex. 77. BWV 566: narratio: auxesis figure (bars 106-108) ...................................... 207 Ex. 78. BWV 566: digressio (bars 123-133) ............................................................. 208 Ex. 79. BWV 566: confirmatio (bars 134-144) ......................................................... 209 Ex. 80. BWV 566: confirmatio (bars 165-179) ......................................................... 209 Ex. 81. BWV 566: confirmatio and peroratio (bars 206-216) .................................. 210 Ex. 82. BWV 566: peroratio (bars 217-229) ............................................................. 210 Ex. 83. N. Bruhns: Prelude in E minor: exordium (bars 1-8) .................................... 214 Ex. 84. N. Bruhns: exordium (bars 9-16) ................................................................... 215 Ex. 85. N. Bruhns: narratio answer, bars 56-60 (detail) ........................................... 215 Ex. 86. N. Bruhns: exordium, bars 1-2 (detail) .......................................................... 216 Ex. 87. N. Bruhns: narratio answer and countersubject (bars 27-30) ....................... 216 Ex. 88. N. Bruhns: exordium: tirata figures, bars 16-17 (detail) ............................... 216 Ex. 89. N. Bruhns: narratio (bars 51-62) .................................................................. 216 Ex. 90. N. Bruhns: narratio and internal peroratio (bars 76-85) .............................. 217 Ex. 91. N. Bruhns: internalperoratio and digressio (bars 86-94) ............................. 218 Ex. 92a. N. Bruhns: narratio: tirata figures (bars 63-64) ......................................... 218 Ex. 92b. N. Bruhns: internal peroratio: tirata figures (bars 84 and 89) .................... 218 Vlll
Page 1 and 2: THE UNIVERSITY OF SHEFFIELD Access
Page 3 and 4: To my parents, d q, uýzpio rcaz Ev
Page 5 and 6: ABSTRACT The association between li
Page 7: LIST OF MUSICAL EXAMPLES Ex. 1. Dur
Page 11 and 12: LIST OF TABLES Table 1. The four hu
Page 13 and 14: Chapter 12 elements, the humours of
Page 15 and 16: Chapter 14 important elements emplo
Page 17 and 18: Chapter 16 Throughout the sixteenth
Page 19 and 20: Chapter 18 The movement of the meas
Page 21 and 22: Chapter 1 10 any attempts made to r
Page 23 and 24: Chapter 1 not acceptable and pleasi
Page 25 and 26: Chapter 1 14 But eloquence does var
Page 27 and 28: Chapter 1 16 musical composition, b
Page 29 and 30: Chapter 1 18 confirmation of a spee
Page 31 and 32: Chapter 1 20 figures (figurae ampli
Page 33 and 34: Chapter 1 22 analyzed according to
Page 35 and 36: Chapter 1 24 Peacham the Elder, Hen
Page 37 and 38: Chapter 1 26 movements, not only of
Page 39 and 40: Chapter 1 28 rhetorical terminology
Page 41 and 42: Chapter 1 30 the text and the compr
Page 43 and 44: Chapter 1 32 original literal meani
Page 45 and 46: Chapter 1 34 provided a list of the
Page 47 and 48: Chapter 1 36 As a natural scientist
Page 49 and 50: Chapter 138 (joy and exultation), f
Page 51 and 52: Chapter 1 40 The main contribution
Page 53 and 54: Chapter 1 42 Descartes's theory was
Page 55 and 56: Chapter 1 Furthermore, Galen distin
Page 57 and 58: Chapter 1 Throughout the seventeent
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Chapter 1 48 follows reasonably and
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Chapter 1 them, but listen to some
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Chapter 1 52 , the existence of the
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Chapter 1 54 [sic]. 125I In Das neu
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Chapter 1 56 allowing everyone comp
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Chapter 1 appointed singer at the e
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Chapter 1 60 multiplicatio, prolong
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Chapter 1 The `Italianization' of G
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Chapter 1 64 friends and the author
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Chapter 1 66 composition resulting
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Chapter 1 68 Focusing more on melod
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Chapter 1 70 epistrophe, anadiplosi
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Chapter 1 72 practicus (1745). 352
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Chapter 1 confused style, and if he
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Chapter 1 76 text-expressive orient
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Chapter 1 phenomena of the emotions
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Chapter 1 80 a progressively develo
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Chapter 2 the orator would employ p
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Chapter 2 depended on human emotion
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Chapter 2 particularly where appeal
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Chapter 2 88 question to be decided
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Chapter 2 exact weight as it were o
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Chapter 2 92 purpose was "[... ] to
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Chapter 2 possess certain qualities
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Chapter 2 discourse, even in the ex
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Chapter 2 98 and statements of caus
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Chapter 2 100 a greater persuasive
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Chapter 2 102 modify his delivery t
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Chapter 2 external stimulus (words
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Chapter 2 primaria when the cadence
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Chapter 2 amplifying the basic idea
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Chapter 2 110 harmoniche (1558), al
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Chapter 2 low, the slow and the fas
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Chapter 2 114 obliged to be industr
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Chapter 2 116 the element of opposi
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Chapter 2 118 Following the exordiu
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Chapter 2 generalia ducenda, which
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Chapter 2 122 Sebastien de Brossard
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Chapter 2 raised against it. 226 Th
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Chapter 2 Following the dispositio,
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Chapter 2 128 following ones. 242 I
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Chapter 2 letter or syllable, 251 B
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Chapter 2 also encountered in the c
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Chapter 3 among modem scholars 5 Th
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Chapter 3 once unadorned in the bas
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Chapter 3 preludes from the Orgelb
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Chapter 3 flat) illustrates a manie
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Chapter 3 emphasizing man's redempt
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Chapter 3 draw God's anger down upo
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Chapter 3 word 'nicht'. The passus
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Chapter 3 Werckmeister (1645-17O6),
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Chapter 3 Returning to the chorale
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Chapter 3 4 A$ fcý- - ö--r r Lr f
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Chapter 3 in the two closing bars o
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Chapter 3 156 The autograph manuscr
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Chapter 3 158 between the phrases.
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Chapter 3 BuB und Reu, woe and rue,
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Chapter 3 with the affects of grief
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Chapter 3 expressive passus duriusc
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Chapter 3 of the prelude, where the
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Chapter 3 expressive modulations, i
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Chapter 3 word nichtig (empty) is d
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Chapter 3 Example 39. BWV 615: In d
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Chapter 4 174 4. RHETORICAL STRUCTU
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Chapter 4 (particularly those by Me
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Chapter 4 Toccate, Ricercare, etc.
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Chapter 4 However, Mattheson's desc
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Chapter 4 rhetorical exordium, 37 t
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Chapter 4 The concluding section of
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Chapter 4 186 Frescobaldi's toccata
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Chapter 4 188 pedal, the subject is
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Chapter 4 190 descending minor sixt
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Chapter 4 192 shifts to 3/4 metre i
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Chapter 4 194 the lower voice culmi
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Chapter 4 The cadence on C major th
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Chapter 4 198 has similar elements
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Chapter 4 p n-ý Pý u- Fr-" ! ýR
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Chapter 4 202 The structure encount
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Chapter 4 204 of the dominant of G#
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Chapter 4 .n 'r is of . iml i ;Z; '
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Chapter 4 208 The narratio conclude
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Chapter 4 210 version of the subjec
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Chapter 4 212 amount of favour [...
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Chapter 4 semiquaver gestures with
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Chapter 4 n. ý----. -ý ý_ý r_'.
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Chapter 4 Y7 1_1ý f-k -i-si - 1cx-
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Chapter 4 determined by bold tmesis
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Chapter 4 222 the following example
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Chapter 4 -224 explains inadequatel
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Chapter 4 226 demonstrates differen
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Chapter 4 228 in bars 51-53. Conseq
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Chapter 4 a. ý. Z-_ "'ý ý1 =U p-
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Chapter 4 232 _. ______. __ _. __.
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Chapter 4 234 (bar 25). Sequential
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Chapter 4 236 46). Bars 46-47 displ
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Chapter 4 238 Although BWV 549 and
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Conclusion 240 an orator when he wa
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Conclusion 242 structural dispositi
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Conclusion 244 On the other hand, a
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Bibliography 246 Hippocrate, La Nat
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Bibliography 248 Forkel, Johann Nik
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Bibliography 250 Zarlino, Gioseffo,
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Bibliography 252 Buelow, George J.,
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Bibliography Edler, Arnfried, `Buxt
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Bibliography 256 Johnston, Gregory
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Bibliography Palisca, Claude V., `U
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Bibliography 260 Söhngen, Oskar, T
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Bibliography 262 inbesondere zur mu
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