Haydn is the last major composer whose music was regularly discussed by his contemporaries in terms derived from the classical tradition of rhetoric. Within a generation of his death, that discourse had fallen from favor, but the historical relationship between Haydn and the rhetorical tradition endured. In this volume, a distinguished group of contributors in fields from classics to literature to musicology restores the rhetorical model to prominence and shows what can be achieved by returning to the idea of music as a rhetorical process.

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