The Rhetoric of Sweetness
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Abstract
- The study of 16th-century keyboard music, integral to historical performance since the early music revival of the late 20th century, has traditionally focused on structural analysis from notated sources and inferred improvisation practices. A paucity of historical performance sources has left many performance aspects unaddressed, relying heavily on aesthetics established by earlier generations. This article takes a transdisciplinary approach to examine Renaissance keyboard music, unravelling the complex interplay of elements in harpsichord playing, encompassing tangible and intangible factors. It aims to bridge the gap between contemporary aesthetics and the historical context, shedding light on the ideals shaping musical perception and performance. Exploring George of Trebizond’s rhetorical treatise De suavitate dicendi, and its emphasis in the importance of sweetness in rhetoric, the article parallels ideals of speech delivery with the art of harpsichord playing. It introduces a novel method to integrate non-musical historical sources into performance practice, applying rhetorical principles to analyse 16th-century keyboard musical taste, including tempo, rhythm, embellishments, timbral variety, technical aspects, material culture, and the composition-performance relationship. Addressing how to translate theory into guidance for modern performers, the methodology offers a structured framework for studying and performing 16th-century keyboard music, not presenting empirical results but fostering a alternative approach to better understand and convey the era’s musical ideals.
- Date Issued 2024
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Authors
Vicens, Catalina
- DOI 10.21939/harpsichord-16c-02
- Language en
- License CC-BY-4.0