The purpose of this study is to examine the scope and pattern of influence rhetoric had on Baroque musical rhetoric and to find out what process musical rhetoric took to establish itself as an independent musical theory in that era. The findings are as follows. Baroque musical theorists regarded the essence, purpose, and structure of rhetoric in the same light with that of music and discussed musical rhetoric accepting the broad and detailed concepts of rhetoric as well as its contents. While this reception process accompanied variations of the concepts, definitions, viewpoints, and theories of rhetoric the relationship between rhetoric and musical rhetoric became increasingly tight and systematic. Also, it cannot be overlooked that musical rhetoric, within the framework of Baroque trend, shared the same internal and external aim of rhetoric and continues to develop while reflecting even the detailed semantic changes of rhetoric. Importantly, musical rhetoric, based on the characteristic of musical art being more expansive than language in terms of linguistic and grammatical possibilities, significantly diversified the way rhetorical appearances and technical methods were realized in music. In addition, justification of the homogeneity between rhetoric and musical art itself which cannot be separated into vocal music and instrumental music contributed to both vocal and instrumental music take on equal status.

• 나주리(한양대학교 음악연구소 연구교수) | Julie Ra