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THE ARTS of PERSUASION (Revised) The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude Item Type text; Electronic Dissertation Authors Anderson, Ron James Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 20:06:37 Link to Item http://hdl.handle.net/10150/242454 THE ARTS OF PERSUASION: MUSICAL RHETORIC IN THE KEYBOARD GENRES OF DIETERICH BUXTEHUDE by Ron James Anderson ______________________________ Copyright © Ron James Anderson 2012 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Ron James Anderson entitled “The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude," and recommend that it be accepted as fulfilling the requirements for the degree of Doctor of Musical Arts. _________________________________________________________Date: 6/25/12 Rex Woods _________________________________________________________ Date: 6/25/12 Paula Fan _________________________________________________________ Date: 6/25/12 Tannis Gibson Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. __________________________________________________________Date: 6/25/12 Document Director: Rex Woods 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rule of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Ron James Anderson 4 ACKNOWLEDGEMENTS Making it through a doctoral program doesn't happen through the efforts of just one person, and I have many people to thank for this rare privilege. My DMA committee has shown a constant willingness to expedite all the processes involved, and have done so with enthusiasm and grace. Lyneen Elmore went out of her way on many occasions to assist me with paperwork requirements, and was always a pleasure to work with. I wish to express my profound appreciation to my major professor, Dr. Woods, for his patience and belief in my musical ability, even when my playing didn't always offer evidence of it. Dr. Fan and Professor Gibson have likewise shown remarkable supportiveness and affirmation throughout my studies at University of Arizona. My thanks go out to Dr. Zdechlik for writing letters of recommendation and for showing me that I still could learn much about teaching piano. I would like to extend my sincere appreciation to my friend Christine Barden who, in our long friendship, has seen me through several stages of my life and musical career. I am grateful to my friend and colleague, Dr. David Clemensen, for his friendship, his musical expertise, and his continual interest and involvement in my life, doctoral studies, and career. I give special thanks my parents and siblings for building my foundation as a human being; we were always taught right from wrong, but were also encouraged to individually explore our own paths. I want to express my deep appreciation to my wife, Irene, for her unwavering support (financial and otherwise), without whose help this degree would scarcely have been possible for me. It was her vision and drive (and her car) that originally brought us here from California to pursue our doctorates, and I am very blessed to have her in my life. I thank my two daughters, April and Euri, who each in their own ways have been sources of great inspiration to me, and who also shared with us in this great adventure. It is to God that I owe my deepest gratitude. He has given me life and a purpose for living it. In times when I think I've figured out my life, he interrupts it with a new plan; and when I feel that nothing is going right, he shows me that everything is in his hands, and that he will take care of me. The Lutheran chorale, Auf meinen lieben Gott, sums up my sentiment well: 5 TABLE OF CONTENTS LIST OF TABLES ............................................................................................................. 8 LIST OF MUSICAL EXAMPLES .................................................................................... 9 ABSTRACT ..................................................................................................................... 17 CHAPTER I: INTRODUCTION ..................................................................................... 19 CHAPTER II: BACKGROUND ..................................................................................... 26 Buxtehude's Life .................................................................................................. 26 Buxtehude and Rhetoric ....................................................................................... 28 CHAPTER III: RHETORIC AND MUSIC ..................................................................... 30 Rhetoric and Music in Academia ......................................................................... 30 History of Rhetoric and Music ............................................................................. 31 Ethos, Logos, Pathos ........................................................................................... 33 Form and Expression in Speech and Music ......................................................... 36 CHAPTER IV: ANALYTICAL PRINCIPLES ............................................................... 39 CHAPTER V: CHORALE SETTINGS .......................................................................... 43 Chorale Prelude: Jesus Christus, unser Heiland, BuxWV 198 ........................... 44 Chorale Fantasia: Wie schön leuchtet der Morgenstern, BuxWV 223 ................ 49 Chorale Variations: Auf meinen lieben Gott, BuxWV 179 .................................. 54 Allemande ................................................................................................ 57 Double ...................................................................................................... 58 Sarabande ................................................................................................ 59 6 TABLE OF CONTENTS – Continued Courante .................................................................................................. 61 Gigue ........................................................................................................ 64 CHAPTER VI: VARIATIONS ........................................................................................ 66 La Capricciosa, BuxWV 250 .............................................................................. 66 CHAPTER VII: SUITES ................................................................................................. 75 Suite in D minor (d'Amour), BuxWV 233 ........................................................... 76 Allemande d'Amour .................................................................................. 78 Courante .................................................................................................. 80 Sarabande d'Amour ................................................................................. 82 Sarabande ................................................................................................ 86 Gigue ........................................................................................................ 87 CHAPTER VIII: RHETORICAL SCHEMES FOR THE FUGUE ................................. 89 Canzona in D minor, BuxWV 168 ...................................................................... 91 CHAPTER IX: PRAELUDIA AND THE CLASSICAL DISPOSITIO .......................... 98 Praeludium in G minor, BuxWV 163 ................................................................ 100 Exordium ................................................................................................ 105 Narratio ................................................................................................. 107 Propositio .............................................................................................. 109 Confirmatio ............................................................................................ 110 Confutatio .............................................................................................. 113 Peroratio ................................................................................................ 115 7 TABLE OF CONTENTS – Continued CHAPTER X: CONCLUSION ..................................................................................... 119 Chorale Settings ................................................................................................. 119
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