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Excerpt from Germanische Elben und Götter Beim Estenvolke Seit unvordenklichen, prähistorischen Zeiten, jedenfalls schon seit Jahrtausenden, leben Indogermanen und Fennougrier in beständiger Berührung und Beziehung miteinander und zu einander. In der ältesten Zeit, bis zu der unser Blick zurück reicht der letzten Periode der sogenannten Urzeit lebten die indogermanischen Völker aller Wahrscheinlichkeit nach im mittleren Europa von Frankreich bis zum kaspischen Meere und Ural hin, in weiter Ausdehnung, während im Osten Euro pas, im jetzigen Rußland und Skandinavien, ihnen nach Norden zu wahrscheinlich schon damals die finnisch-ugrischen Völker angrenzend vorgelagert waren. Denn auch für die früher wohl angenommene Einwanderung dieser letztgenannten Völker aus Asien nach Europa liegen keine Beweise vor, während manche Umstände direkt dagegen sprechen, daher man diese Hypothese jetzt ebenso wie die entsprechende Annahme für die Indoger manen aufgegeben hat. Schon die älteste Zeit, bis zu der wir mit einiger Sicherheit vordringen können, zeigt uns also wohl Arier und Finnen in weiter Ausdehnung nebeneinander woh nend, und dies Nachbarverhältnis dauert fort bis auf den heu tigen Tag, alle Veränderungen und Verschiebungen im einzelnen überdauernd. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Musica Poetica provides an unprecedented examination of the development of Baroque musical thought. The initial chapters, which serve as an introduction to the concept and teachings of musical-rhetorical figures, explore Martin Luther’s theology of music, the development of the Baroque concept of musica poetica, the idea of the affections in German Baroque music, and that music’s use of the principles and devices of rhetoric. Dietrich Bartel then turns to more detailed considerations of the musical-rhetorical figures that were developed in Baroque treatises and publications. After brief biographical sketches of the major theorists, Bartel examines those theorists’ interpretation and classification of the figures. The book concludes with a detailed presentation of the musical-rhetorical figures, in which each theorist’s definitions are presented in the original language and in parallel English translations. Bartel’s clear, detailed analysis of German Baroque musical-rhetorical figures, combined with his careful translations of interpretations of those figures from a wide range of sources, make this book an indispensable introduction and resource for all students of Baroque music.