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from lat. figura – external outlines, image, image, way, character, property

1) A characteristic group of sounds (melodic. F.) or rhythmic. shares, durations (rhythm. F.), usually repeatedly repeated.

2) The figuration element.

3) A relatively finished part of the dance, built on the repeated repetition of its characteristic choreographic. F., accompanied in music by definitions. rhythmic F.

4) Graphic. depiction of sounds and pauses of mensural notation; the concept retained the meaning of musical signs until the 1st floor. 18th century (see Spiess M., 1745).

5) F. muz.-rhetorical – a concept used to refer to a number of muses. techniques known in the Middle Ages (and even earlier), but which have become a characteristic part of the muses. vocabulary only in con. 16 – 1st floor. 17th century F. considered the theory of music 17-18 centuries. in the system of views on music typical of that time as a direct analogy to oratory. This is connected with the transfer to the theory of music (primarily German) of the concepts of the main parts of the classical. rhetoric: the invention of speech material, its arrangement and development, decoration and delivery of speech. That. music arose. rhetoric. The doctrine of F. relied on the third part of rhetoric – decoration (de-coratio).

The concept of music-rhetoric. F. was similar to the main. concepts of rhetoric. decoratio – to paths and F. (see the treatises of I. Burmeister, A. Kircher, M. Spies, I. Mattheson, and others). To F. attributed the definition. techniques (mainly various types of melodic and harmonic turns), “deviating from a simple kind of composition” (Burmeister) and serving to enhance the expressiveness of music. Common with rhetoric. F. the principle of expressive deviation from the generally accepted was understood in muses. rhetoric in different ways: in one case, this is a deviation from the simple, “unadorned” type of presentation, in the other, from the rules of strict writing, in the third, from the classic. norms of homophonic harmonic. warehouse. In the doctrine of music-rhetoric. More than 80 types of F. have been recorded (see the listing and description of F. in the book of the German musicologist G. G. Unter, 1941). Many of them were considered by the theorists of the past as analogous to correspondences. rhetorical F., from which they received their Greek. and lat. titles. A smaller part of F. did not have specific rhetoric. prototypes, but was also attributed to the muz.-rhetoric. tricks. G. Unger divides musical rhetoric. F. by function in production. into 3 groups: pictorial, “explaining the word”; affective, “explaining the affect”; “grammatical” – techniques, in which the constructive, logical comes to the fore. Start. Display. and affective F. formed in wok. music, where they were designed to convey the meaning of the verbal text. The word of the text was understood as a helper. means, source of music. “inventions”; in him. treatises of the 17th century. (I. Nucius, W. Schonsleder, I. Herbst, D. Shper) placed lists of words, to which one should pay special attention when composing music.

O. Lasso. Motet “Exsurgat Deus” from Sat. Magnum Opus Musicum.

In the creativity organized in this way. In the process, the method of directed influence on the listener (reader, viewer), characteristic of the Baroque art, was manifested, called the literary critic A. A. Morozov “rhetorical rationalism”.

These F. groups are used in music in the form of a variety of muses. tricks. Below is their classification based on X. Eggebrecht’s grouping:

a) depict. F., which includes anabasis (ascent) and catabasis (descent), circulatio (circle), fuga (running; A. Kircher and T. B. Yanovka added the words “in a different sense” to its name, distinguishing this F. . from another, “non-depicting” F. fugue; see below), tirata, etc .; the essence of these F. – in the ascending or descending, circular or “running” melodic. movement in connection with the corresponding words of the text; for an example of the use of F. fuga, see column 800.

In the music rhetoric is also described by F. hypotyposis (image), suggesting Sec. cases of music figurativeness.

b) Melodious, or, according to G. Massenkail, interval, F .: exclamatio (exclamation) and interrogatio (question; see example below), conveying the corresponding intonations of speech; passus and saltus duriusculus – an introduction to chromatic melody. intervals and jumps.

C. Monteverdi. Orpheus, Act II, Orpheus part.

c) F. pauses: abruptio (unexpected interruption of the melody), apocope (unusual shortening of the duration of the final sound of the melody), aposiopesis (general pause), suspiratio (in Russian music theory of the 17th-18th centuries “suspiria” – pauses – “sighs ”), tmesis (pauses that break the melody; see example below).

J. S. Bach. Cantata BWV 43.

d) F. repetition, include 15 melodic repetition techniques. constructions in a different sequence, for example. anaphora (abac), anadiplosis (abbc), palillogia (exact repetition), climax (repetition in sequence), etc.

e) F. of the fugue class, for which imitation is characteristic. technique: hypallage (imitation in opposition), apocope (incomplete imitation in one of the voices), metalepsis (fugue on 2 themes), etc.

f) F. sentences (Satzfiguren) – a concept borrowed from rhetoric, in which it was used along with “F. words”; The basis of this numerous and heterogeneous group is made up of F., which perform both depiction and expression. functions; their characteristic feature – in harmony. language Satzfiguren include dec. techniques for using dissonances contrary to strict rules: catachrese, ellipsis (incorrect resolution of dissonance or lack of resolution), extensio (dissonance sustained longer than its resolution), parrhesia (listing, using boost and decrease intervals, some cases of unprepared or incorrectly resolved dissonances ; see example below); Information about dissonant F. is most fully presented in the works of K. Bernhard.

G. Schutz. Sacred Symphony “Singet dem Herren ein neues Lied” (SWV 342).

This group also includes special methods of using consonances: congeries (their “accumulation” in the direct movement of voices); noema (the introduction of a homophonic consonantal section into a polyphonic context in order to highlight the C.L. thoughts of a verbal text), etc. Ph. sentences also include a very important in the music of the 17th-18th centuries. F. antitheton – opposition, a cut can be expressed in rhythm, harmony, melody, etc.

g) Manners; at the heart of this group F. are decomp. types of chant, passages (bombo, groppo, passagio, superjectio, subsumptio, etc.), which existed in 2 forms: recorded in notes and unrecorded, improvised. Manners were often interpreted out of direct connection with rhetoric. F.

6) F. – music. decoration, ornament. In contrast to Manieren, decoration in this case is understood more narrowly and unequivocally – as a kind of addition to the basics. music text. The composition of these decorations was limited to diminutions, melismas.

7) In Anglo-Amer. musicology, the term “F.” (English figure) is used in 2 more meanings: a) motive; b) digitization of the general bass; figured bass here means digital bass. In music theory, the term “figurative music” (lat. cantus figuralis) was used, which was originally (until the 17th century) applied to works written in mensural notation and distinguished by rhythm. diversity, as opposed to cantus planus, rhythmically uniform singing; in the 17-18 centuries. it meant melodic. figuration of chorale or ostinato bass.

References: Musical aesthetics of Western Europe in the 1971th-1972th centuries, comp. V. P. Shestakov. Moscow, 3. Druskin Ya. S., About rhetorical methods in the music of J. S. Bach, Kipv, 1975; Zakharova O., Musical rhetoric of the 4th – first half of the 1980th century, in collection: Problems of Musical Science, vol. 1975, M., 1978; her own, Musical rhetoric of the 1606th century and the work of G. Schutz, in collection: From the history of foreign music, vol. 1955, M., 1; Kon Yu., About two fugues by I. Stravinsky, in collection: Polyphony, M., 2; Beishlag A., Ornament in music, M., 1650; Burmeister J., Musica poetica. Rostock, 1690, reprint, Kassel, 1970; Kircher A., ​​Musurgia universalis, t. 1701-1973, Romae, 1738, 1745, rev. Hildesheim, 1739; Janowka T. V., Clavis ad thesaurum magnae artis musicae, Praha, 1954, reprinted. Amst., 1746; Scheibe JA, Der critische Musicus, Hamb., 1, 1788; Mattheson J., Der vollkommene Capellmeister, Hamb., 1967, reprinted. Kassel, 22; Spiess M., Tractatus musicus compositorio -practicus, Augsburg, 1925; Forkel JN, Allgemeine Geschichte der Musik, Bd 1926, Lpz., 1963, reprinted. Graz, 18; Schering A., Bach und das Symbol, in: Bach-Jahrbuch, Jahrg. 1932, Lpz., 33; Bernhard Chr., Ausführlicher Bericht vom Gebrauche der Con- und Dissonantien, in Müller-Blattau J., Die Kompositionslehre H. Schützens in der Fassung seines Schülers Chr. Bernhard, Lpz., 15, Kassel-L.-NY, 7; his own, Tractatus compositionis augmentatus QDBV, ibid.; Ziebler K., Zur Aesthetik der Lehre von den musikalischen Figuren im 16. Jahrhundert, “ZfM”, 1935/1939, Jahrg. 40, H. 3; Brandes H., Studien zur musikalischen Figurenlehre im 1. Jahrhundert, B., 2; Bukofzer M., Allegory in baroque music, “Journal of the Warburg and Courtauld Institutes”, 16/18, v, 1941, No 1969-1950; Unger H, H., Die Beziehungen zwischen Musik und Rhetorik im 1955.-1708. Jahrhundert, Würzburg, 1955, reprinted. Hildesheim, 1959; Schmitz A., Die Bildlichkeit der wortgebundenen Musik JS Bachs, Mainz, 1959; Ruhnke M., J. Burmeister, Kassel-Basel, 1965; Walther JG, Praecepta der Musicalischen Composition, (1967), Lpz., 1972; Eggebrecht HH, Heinrich Schütz. Musicus poeticus, Gött., 16; Rauhe H., Dichtung und Musik im weltlichen Vokalwerk JH Scheins, Hamb., 18 (Diss.); Kloppers J., Die Interpretation und Wiedergabe der Orgelwerke Bachs, Fr./M., 1973; Dammann R., Der Musikbegriff im deutschen Barock, Köln, 5; Polisca CV, Ut oratoria musica. The rhetorical basis of musical mannerism, in The meaning of mannerism, Hannover, 2; Stidron M., Existuje v cesky hudbe XNUMX.-XNUMX. stoletн obdoba hudebne rеtorickych figur?, Opus musicum, XNUMX, r. XNUMX, no XNUMX.

O. I. Zakharova