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Since the Middle Ages in Germany and likewise in other countries, metric and modal theory were seen from the viewpoint of grammar - allocated to simple speech, whereas the rhetoric of ornate speech was assigned to the affective (and »programmatic«) domain. The »musical punctuation« and »declamation« were elements of grammar and prosody, but the recognition of all symbolically lingual means - especially of the »rhetorical figures« - was more important for the interpreters (musicians): Only the figures bring close to us the »whole meaning«, as Johann Gottfried Walther for example said (1708). These figures were first systematically represented by Joachim Burmeister (1599 and 1601), and in the course of the century, in Germany over one hundred musical-rhetorical figures were named. Composers partly used these figures well into the 20th century. Other important rhetorical categories were the inventio, the discovery of musical thoughts at certain »places« (loci), and the dispositio, the arrangement of the musical pieces - often by following the example of a poem, a drama or a speech (preferably forensic).

»Denn jedes gute Tonstück ist ein Gedicht«. Rhetorik und Musik im deutschen Sprachraum. Von ca. 900 bis zur Gegenwart