É assim, porque é assim que tem que ser: a retórica galante nos motetes de José Maurício, observada no uso da pedagogia dos partimenti, da gramática das schemata e da oratória musical

Music in the gallant universe had as teleology objectify process socio-communicative through the shared experience of musical figures, expressive fields, harmonic schemes (contrapuntal), and dramatic models transformed into musical oratory (where the form is included). These parameters were unfolded by a compositional technique where each element was duly articulated with an idea to express; that is, each element had a function and objective within the structure. Thus, phrases and cadences, expressive fields, and rhetoric figures always existed in a relationship between the parts and the whole. It was, in music, what was released from the effort to align itself with a hegemonic idea in refined circles of the 18th century: a logic of invention by the principle of Leibnitz's Ars Combinatoria. The present text tries to show, first, how the conduct of this process took place under a cognitive mentality operated by the idea of Musical Rhetoric. Second, how it was assimilated and operationalized as pedagogy, creative process, and ideological expression, as a musical discourse. For this purpose, we will use extracts of motets by the Rio de Janeiro composer Jose Mauricio Nunes Garcia (1767-1830) to decant several expressive elements relating them to models learned through the pedagogy of partimenti and, also, of the combinatorial processes of rhetorical schemes for the construction of pictorialisms, natural of the motetistic writing. In this sense, the study shows how tonalities, cadences, harmony, schemata, and metrics are articulated as oral processes that we interpret as the idea of redemption. The text, it should be said, presents the results of a line of research developed at the Musicology Laboratory of EACH-USP on discursive processes in Jose Mauricio's music. It follows the thesis of representations of values and beliefs that, metaphorized as music, align with ideological structures of control in the exercise of the liturgical spectacle in the Luso-Brazilian domains.