Based on the Musica poetica of Joachim Burmeister, this work examines musical-rhetorical figures as a widespread phenomenon of the 16th century. It draws a connection from the Franco-Flemish school through the two Gabrieli in Venice to their students, Schütz, and ultimately to Monteverdi. In this era and among these composers, fundamental features, figure predecessors, tendencies, differentiations, and developments are highlighted. By incorporating contemporary theoretical treatises that increasingly provide rules for text setting, it is made clear that the core ideas of Burmeister's teachings were by no means limited to practice. The proximity of Seconda pratica and musical-rhetorical figures is also taken into account, as well as the expression of affections in instrumental music.