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U·M·I University Microfilms International a Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor The introduction of the one-keyed transverse flute in France and its use in the French baroque cantata. Item Type text; Dissertation-Reproduction (electronic) Authors Miller, Michelle Renee. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 02:00:00 Link to Item http://hdl.handle.net/10150/185854 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized cppyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor. M148106·1346 USA 313/761·4700 800/521·0600 Order Number 9229849 The introduction of the one-keyed transverse flute in France and its use in the French baroque cantata Miller, Michelle Renee, A.Mus.D. The University of Arizona, 1992 Copyright ®1992 by Miller, Michelle Renee. All rights reserved. V·M·I 300 N. Zeeb Rd. Ann Arbor. MI 48106 -----,---- THE INTRODUCTION OFTHE ONE-KEYED TRANSVERSE FLUTE IN FRANCE AND ITS USE IN THE FRENCH BAROQUE CANTATA Michel1e Renee Mi1ler Copyright © Miche]]e R Mj]]er 1992 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College of THE UNIVERSITY OF ARIZONA 1992 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by --------------------------------------MICHELLE RENEE MILLER entitled----~~~~~~~~~~~~~~~~~~~~~"~~~~~--- THE INTRODUCTION OF THE ONE-KEYED TRANSVERSE FLUTE IN FRANCE AND ITS USE IN THE FRENCH BAROQUE CANTATA and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts Warren Sutherland l.J J-~~~p:j L William Dietz Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. 7 I Jean Louis Kashy Date 3 STATEMENT BY THE AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Ubrary to be made available to borrowers under the rules of the Ubrary. Brief quotations from this document are allowable without special pennission, provided that aca.trate acknowledgment of source is made. Requests for pennission for extended quotation from or reproduction of this manuscript in whole or in part must be granted by the copyright holder. Signed J~' t>j.Q/:....-----..........., "'" 4 ACKNOWLEDGMENTS I thank Professor James R Anthony for his inspiration and assistance. For an the love and support, I thank my family; Victor Miller, Lucienne Breland-Miller, Denise Y. Miller, T.e. Miller, Zoran Stilin and Abbie Small. 5 TABLE OF CONTENTS List of Illustrations and Musical Examples ............................................................................. 6 Abstract................................................................................................................................ 7 Introduction .......................................................................................................................... 8 I. The Development of the One-Keyed Flute in France ........................................................ 9 a. Technical Transformation: A Chronology .................................................................. 10 b. Popularity of the Flute at Court and in Paris ............................................................. 17 II. The Social Roots of the Cantata .................................................................................... 19 a. Center of the Arts; From Versailles to Paris Salon ..................................................... 20 b. Italian Influence ...................................................................................................... 21 c. Cantata Texts .......................................................................................................... 22 d. Duc d'Orleans .......................................................................................................... 24 III. The Flute in the Cantata ............................................................................................... 27 a. The "Air Tendre" ..................................................................................................... 28 b. Terminology ......... "................................................................................................... 29 IV. A Survey of Flute Parts in Selected Cantatas by Morin, Campra, Jacquet de La Guerre, CIerambault and Montec1air ......................................................................................... 31 a. Campra ................................................................................................................... 33 b. Morin ....................................................................................................................... 50 c. Jacquet de la Guerre .................................................................................................. 52 d. Clerambault ............................................................................................................ 64 e. Monteclair ............................................................................................................... 97 V. Conclusion ................................................................................................................... 117 Selected Bibliography ........................................................................................................ 119 ---------------- 6 LIST OF ILLUSTRATIONS AND MUSICAL EXAMP~ I -1 Drawing from Mersenne's Harmonie UniverseJl~ 1636, p. 11 1-2 Drawing from title page of Marais' Pieces en Trio.. , 1692, p. 12 1-3 . Drawing from Hotteterre's Principes•• 1707, p. 13 1-4 Drawing from Michel Corrette's Flute Tutor, c1750, p. 15 II -1 Cantata Text from Mercure de Fran~ 1729, p. 23 IV-l Campra's Arion, First Air, p. 35. IV-2 Campra's Arion, Final Recitative, p. 41 IV -3 Campra's La Dispute de l'amour et de l'Hymen, Introduction of First Air, p. 44. IV -4 Campra's La Danse de Flore, Air Lentement, p. 46. IV -5 Cover page to Morin's Cantatas, Book III, dedicated to Duc d'Orleans, p. 51, IV-6A Jacquet de la Guerre, L'!slede Delos, Muzette, p. 54. IV -6B Jacquet de la Guerre, L'lsle de Delos, Chaconne, p. 55 IV -6C Jacquet de la Guerre, L'Isle de Delos, Simphonie de Rossignol, p. 58. IV-7 Oerambault's Orphee, p. 66. IV -8 Oerambault's Mede~ "Air Tendre", p. 79. IV-9 Oerambault's Alphee et Artebusefor "a voix seule", Title page and "Air Tendre", p. 82 IV-l0 Clerambault's Zephire et Flore, TiUe Page, p. 92. IV-ll Oerambault's L'!sle de Delos, "Air Tendre", p. 94. IV-12 Monteclair's Pan et Sirinx, Recitative and "Air Tendre", p. 99. IV-13 Monteclair's La Bergere, Final "Sommeil", p. 109. 7 ABSTRACf Ouring the second half of the seventeenth century, the transverse flute was transfonned from a cylindrical, one-pieced, six-holed instrument into a conically-bored instrument in three or four pieces with seven tone holes and one key. These changes enabled flutists to adapt to a new repertoire that demanded improved intonation and increased tonal control. A genre which exploited these improvements was the French cantata, in which, the flute, along with the violin, was more and more favored as an obbligato instrument. Political and internal upheavals during the last years of Louis XIV's reign changed the atmosphere at Versailles from one of gay spectacle, in the mid-century, to one of pious restraint by the late 1680s. Consequently, during the preramiste era (1687-1733), the center of musical activity shifted from Versailles to the Paris salon and concert hall where Philippe, Duc d'Orleans, was a key figure. He encouraged the perfonnance and
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