| |
| | Untitled Document |
 | | Musical form becomes dictated by a rhetorical focus, a relation heightened by the terms compositio, dispositio, res, verba, grandis, ornata, figura, flos, and color, which Lippius garners directly from the rhetorical texts of Cicero and Quintilian, and places liberally throughout his treatises on music and rhetoric. |
 | | This outlook is not surprising for Lippius, considering that he viewed text and music as related by Aristotelian philosophy; the body, analogous to the music of a work, and the soul, analogous to the text of a work, attest to the importance of the text in Lippius' conception of music. |
 | | Music was able to recover from the excesses of the Baroque in a much easier manner, because music was already linked to science through the mathematics of sound production, and because music was not directly attacked in the philosophical treatises of the day as rhetoric was. |
| www.smcm.edu /users/gtdegentesh/d2/ClasInfl.htm (6635 words) |
|