In this paper the 11th Chapter of J. J. Quatnz’s treatise On Playing the Flute is considered as a doctrine on musical rhetoric. This doctrine is of importance not only for performing art (both contemporary to Quantz and modern historically informed performance practice), but also for studies in history of musical-theoretical thought of Baroque and Early Classicism. The place of the 11th Chapter in overall structure of the treatise is defined and its internal formation is analyzed. Apart from this, some parallels proposed by Quantz are revealed between performing art and rhetorical doctrine on delivery of speech (pronuntiatio, Vortrag) and also the particular significance of the category of affectus for this author is noted. Finally, an observation is made on the presence of two important concepts of the Baroque affect theory in this Chapter: the first is the analogy of musical and emotional movements (motus harmonici, motus animæ) and the second — application of the four temperaments theory as a scientific basis for classification of passions of the soul and for detection of personal inclination (in this case — of performers) for music of one or another kind. And also singularity is denoted which feature the employment of the said ideas by the author of the treatise.
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