Joachim Burmeister之音樂修辭學理論與樣態

The Theory of Joachim Burmeister’s Musical Rhetoric and Figures

音樂中所要表達的話語稱作音樂的語意（Musical Semantics），對於演奏者而言，可以透過音樂分析對音樂作品形成重要的詮釋，對於創作者來說，則可增加音樂創作的情感表現。音樂的語意在音樂發展史中闡述的意涵多有差異，也有個別研究的音樂學門，然而發展出這些不同音樂學們的起源，都會是指向在文藝復興後期與巴洛克時期所發展出的一種音樂理論，這種理論稱作「音樂修辭學」（Musical Rhetoric）。
十六、十七世紀交替之際，音樂理論家Joachim Burmeister提出音樂修辭學理論專書，說明演說家會運用到「修辭」來提升聽眾的情緒，激發聽眾情感上的共鳴，作曲家也希望藉由一些音樂創作手法，來表達音樂中的憂愁、憤怒、憎恨、歡樂、或是悲傷，這些手法可以歸納成為音樂修辭學的樣態，也正是本文研究的方向與探討內容，本文意在認識而且了解當時音樂家以哪些音樂修辭學樣態來創作，而這些樣態又提供我們對於音樂美感的概念，以及情緒表達的本質，Joachim Burmeister的理論著作，正好給我們最重要的啟發，也提供我們了解音樂修辭本質的最佳方式。

Musical semantics refers to the ability of music to convey semantic meaning. Semantics is a key feature of language, and whether music shares some of the same ability to prime and conveys meaning has been the subject of recent studies. In baroque music, influenced by affection, semantic can refer to“rhetoric”. Composers using rhetoric in music seek to align the rhetorical principles of speech with the techniques used to make good-sound music. Most often it appears it as a method of choosing melodies, rhythms, and lyrics that are pleasing to the ear.
The main point of this article is mainly to discuss the theory of J. Burmeister’s rhetoric of music, who was the first music theorist to propose this theory. Besides, this discussion will also point out how Burmeister in different aspects expounded, defined, depicted and distinguished these figures in music. Through his theory, it just gives us the most important inspiration, and also provides us with the best way to understand the nature of musical rhetoric.