| Description |
1 online resource (342 pages) |
| Contents |
Acknowledgements; Translations and terminology; 1 Introduction; Music's duality in Enlightenment thought; Between tradition and innovation; Inherited gender stereotypes; Rameau versus Rousseau on musical expression; Issues of balance between music and text; Lully as point of reference; Procedural decisions; 2 Rameau's concept of musical expression: In theory and in practice; 3 Getting oriented: Rameau's first tragedy, Hippolyte et Aricie (premiere, 1733); The pangs of forbidden love; Aricie's monologue aria, Act I, Scene 1 |
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Recitative dialogue between Hippolyte and Aricie, Act II, Scene 2 (from the printed score of 1742)Intense conflict; Recitative dialogue between Hippolyte and Phèdre, Act III, Scene 3; Structure and dramatic conflict on a grander scale; Phèdre's monologue aria, Act III, Scene 1; Thésée's monologue scene, recitative and culminating air, Act III, Scene 9; Conflict resolution; Thésée's monologue, Act V, Scene 1; Thésée's and Neptune's recitative dialogue, Act V, Scene 2; 4 Comparative overview of Rameau's tragedies, first versions: Continuity and change; Hippolyte et Aricie (premiere, 1733) |
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Castor et Pollux (premiere, 1737)Dardanus (premiere, 1739); Zoroastre (premiere, 1749); Les Boréades; 5 Scenes of forbidden love confessed; Castor et Pollux; Télaïre's monologue aria, Act I, Scene 3; Castor's monologue aria, Act IV, Scene 1; Dardanus; Recitative dialogue between Iphise and Dardanus, Act II, Scene 5; Iphise's monologue aria, Act I, Scene 1; Zoroastre; Recitative dialogue between Amélite and Zoroastre, Act III, Scene 6; Amélite's monologue aria, Act V, Scene 1; Les Boréades; Abaris's monologue aria, Act II, Scene 1 |
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Recitative dialogue between Alphise and Abaris, Act II, Scene 56 Scenes of intense conflict; Castor et Pollux; Recitative dialogue between Phébé, Télaïre, and Pollux, Act III, Scene 3; Dardanus; Recitative dialogue between Iphise and Anténor, Act III, Scene 2; Zoroastre; Abramane's monologue aria, Act IV, Scene 1; Recitative dialogue between Abramane and Zoroastre, Act V, Scene 4; Les Boréades; Recitative dialogue: Alphise, Adamas, Abaris, Borilée, and Calisis, with respective followers in split chorus, Act III, Scene 4; 7 Scenes of conflict resolution; Castor et Pollux |
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Recitative dialogue between Castor and Pollux, Act IV, Scene 4Dardanus; Recitative dialogue between Dardanus, Anténor, Iphise, and Teucer, Act V, Scene 2; Zoroastre; Zoroastre's accompanied recitative, Act V, Scene 5; Les Boréades; Recitative dialogue between Abaris and his enemies, Act V, Scenes 4 and 5; Conclusion; Bibliography; Index |
| Summary |
Verba's fresh approach to understanding Rameau's role in the French Enlightenment focuses on dramatic expression in his musical tragedies |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Print version record |
| Subject |
Rameau, Jean-Philippe, 1683-1764 -- Criticism and interpretation
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| SUBJECT |
Rameau, Jean-Philippe, 1683-1764 fast |
| Subject |
Enlightenment -- France
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Music -- France -- Philosophy and aesthetics
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Opera -- France -- 18th century.
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Enlightenment
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Music -- Philosophy and aesthetics
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Opera
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France
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| Genre/Form |
Criticism, interpretation, etc.
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| Form |
Electronic book
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| ISBN |
9781107308763 |
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1107308763 |
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1139109405 |
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9781139109406 |
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1299257275 |
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9781299257276 |
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