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University of Cincinnati University of Cincinnati Date: 5/24/2004 I, Tamara A. Tidd, hereby submit this original work as part of the requirements for the degree of Master of Music in Music Theory. It is entitled: Theory and Practice: Rameau’s Fundamental Bass Applied to the Contemporary French Overture. Student's name: Tamara A. Tidd This work and its defense approved by: Committee chair: Robert Zierolf, Ph.D. Committee member: Miquel Roig Francoli, Ph.D. Committee member: Mary Sue Morrow, Ph.D. Last Printed:10/3/2019 Document Of Defense Form THEORY AND PRACTICE: RAMEAU’S FUNDAMENTAL BASS APPLIED TO THE CONTEMPORARY FRENCH OVERTURE A thesis submitted to the Division of Research and Advanced Studies Of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the Department of Composition, Musicology, and Theory Of the Cincinnati-Conservatory of Music by Tamara A. Tidd B.M., Belmont University, 1994 Committee Chair: Dr. Robert Zierolf ABSTRACT Music theorists at the turn of the eighteenth-century focused much of their energy introducing new theoretical methods for musical composition. As a result the field of music theory grew into several important areas. Jean-Philippe Rameau (1683-1764) first presented many of the ideas that form our modern analytical practice. In Traité de l’harmonie, Rameau established a system of harmonic principles currently in use today. These include: constructing chords in a series of thirds, the formation of the major triad from the overtone series, the relationship of chords to a tonal center, the theory of chordal inversions, and the theory of fundamental bass. Although Rameau first intended his theory of fundamental bass to be used as a pedagogical tool, the function of the fundamental bass developed into revealing the foundation or root of each chord. The purpose of the chordal root was to serve as an early theoretical and analytical perception later interpreted by Roman numerals. The purpose of this Thesis will be to present an analysis of Rameau’s fundamental bass theory as it is applied to the music of the French overture style. In addition to Rameau’s overtures, some by Lully and Telemann were chosen to allow comparison both chronologically and nationally. Pieces selected include Alceste, Cadmus et Hermione, and Amadis by Lully; Hippolyte et Arcie, La Princesse de Navarre, and Castor et Pollux by Rameau; and Suite in D, Overture in D minor, and Orchestral Suite in F minor by Telemann. Rameau’s theory of fundamental bass was a theoretical revolution. It provided a new model to indicate not only the origin of harmonies, but how these harmonies progressed in music over real time. His theory also verified the interpretation of a succession of harmonies to be a process of motion. The essence of this Thesis is to demonstrate that the fundamental bass theory developed by Rameau is a practical description of music from that time and beyond. ACKNOWLEDGEMENTS To my family: for their unfailing love and support. To Dr. Robert Zierolf: my eternal gratitude for giving the opportunity to come to CCM and to be apart of such a wonderful institution. To the other the faculty and staff at CCM for making this an experience I will never forget. CONTENTS Introduction . vii Chapter 1. Theorists . 1 A. Theorists before Rameau. 1. Johann Joseph Fux. 2. Johann David Heinichen. B. Rameau's contributions. 2. Theory of fundamental bass . 24 3. Analysis of Corelli's Sonatas . 48 4. Fundamental bass analysis of overtures by Lully, Rameau, and Telemann . 70 5. Conclusions . 91 Bibliography . 93 Appendices . 98 vi INTRODUCTION Seventeenth-century theorists in France contributed to the wide variety of European theoretical literature. They were concerned with many theoretical and compositional issues such as: an ornamentation classification system for performers; the reconstruction of theory manuals to include all levels of pedagogy; establishing clear definitions of all theoretical terminology; the documentation of early music history; and distinguishing between specific theories of thoroughbass, counterpoint, and a formal organization of music.1 By the late seventeenth century French music theorists faced a substantial amount of diverse theoretical concepts concerning music theory and composition. For example, major/minor keys overlapped with different modal systems. Empirical thoroughbass theorists constructed chords but could not associate them with a limited number of pitches. Other theorists insisted upon explaining the fundamentals of music by acoustical science, which conflicted with those theorists still using numerical ratios. By the turn of the eighteenth century, theorists focused on introducing even more new theoretical methods for musical composition. As a result, the field of music theory grew into several important areas. For example, in Gradus ad Parnassum (1725), Johann Joseph Fux (1660-1741) codified a species approach to counterpoint. 1Albert Cohen, “17th-Century Music Theory: France,” Journal of Music Theory 16 (1972), 16-35. vii Johann David Heinichen (1683-1729) provided information on the thoroughbass method in his treatise Der General-Bass in der Composition, (1728). These two traditions prepared the way for Jean-Philippe Rameau (1683-1764), who first presented many of the ideas that form our modern analytical practice. In his Traité de l'harmonie (1722) and other treatises that followed, Rameau established a system of harmonic principles then in use. These included: constructing chords in a series of thirds; the formation of the major triad from the overtone series; the relationship of chords to a tonal center; the theory of chordal inversions; and the theory of fundamental bass. Rameau first intended his theory of fundamental bass to be used as a pedagogical tool to simplify the instruction of composition and thoroughbass. The fundamental bass reveals the foundation or root of each chord. Identification of the root was necessary to determine chordal progressions. These chordal roots were not intended to be performed; instead, their purpose was to serve as a theoretical and analytical perception later interpreted by Roman numerals. Although Rameau revised his theory of fundamental bass, he did not extensively apply this theory to his own music. Theorists did, however, applied fundamental bass to music years later. The purpose of this thesis will be to present a test case study and analysis of Rameau's fundamental bass theory as it is applied to the music of the French overture styles. French overtures included a variety of harmonic and rhythmic styles, homophonic and polyphonic textures, viii and a contrast between tempi. Overtures in France were divided into two parts: a slow section in duple meter with dotted rhythms followed by a faster fugal section often in triple or compound meter. At the end a return to the opening material is often found, allowing this form to be a representative type of binary or rounded binary form with harmonically contrasting parts. The French overture was established as the standard type in France during the reign of Louis XIV and quickly spread to Germany and England. In addition to Rameau’s overtures, those by Lully and Telemann, representing France and Germany respectively, were chosen for this study to allow comparison both chronologically and nationally. Pieces selected include Alceste, Cadmus et Hermione, and Amadis by Lully; Hippolyte et Aricie, La Princesse de Navarre, and Castor et Pollux by Rameau; overtures from Suite in D, Overture in D minor, and Orchestral Suite in F minor by Telemann. Rameau’s theory of fundamental bass was the most important theoretical revolution of the eighteenth century. It provided a new model to indicate not only the origin of harmonies but how these harmonies progressed in music over time. His theory also verified the interpretation of a succession of harmonies in music to be a process of motion. The essence of this thesis is to examine how the fundamental bass theory developed by Rameau is a practical description of music from that time. xi CHAPTER I Johann Joseph Fux (1660-1741) and Johann David Heinichen (1683-1729) contributed vital information on species counterpoint and thoroughbass methods, respectively, during the early eighteenth century, thus providing a foundation for Rameau and his theory of fundamental bass. Fux, an Austrian composer and theorist, decided on a career in music during his early childhood. By 1698 he was appointed court composer for Emperor Leopold I. During his lifetime Fux held a variety of positions including Vice-Kapellmeister, Kapellmeister, and Principal Court Kapellmeister for three Habsburg emperors. Fux wrote secular and sacred works including trio sonatas, masses, Te Deum settings, oratorios, and operas. His Gradus ad Parnassum (1725) was quickly regarded as one of the most important counterpoint manuals and remains so today. Written in Latin, Gradus was translated into German, Italian, French, and English, and influenced musicians including Beethoven, Haydn, Mozart, and Schubert. This treatise was constructed in the dialogue style, in which Fux disguised himself as the pupil Josephus. Fux’s greatest influence, Palestrina, was the wise teacher Aloysius. Throughout the treatise Aloysius introduced Josephus to counterpoint principles using the species approach along with exercises for him to master. Josephus worked through the exercises and remained under constant surveillance from Aloysius, who corrected his exercises and answered his questions. Joel Lester, in his book entitled Compositional Theory in the Eighteenth Century, gave a detailed description of Fux’s treatise. Fux began the treatise by listing 1 2 the voice-leading rules for five types or species of two-part writing and consonances needed for species counterpoint. First species created counterpoint using whole notes above or below a cantus firmus in whole notes. Second species used half notes against the cantus firmus. Third species used quarter notes; fourth species featured suspensions; and fifth species combined the possibilities from the preceding species. These concepts were then introduced in three- and four-part writing followed by imitation, fugue, and invertible counterpoint.
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