Cambridge University Press 978-1-107-02156-3 - Dramatic Expression in Rameau’s Tragédie en Musique: Between Tradition and Enlightenment Cynthia Verba Index More information Index accompanied recitative chromatics, 27, 38, 62, 68, 69, 72, 75–76, 78, as tonal anchors, 32 80, 86, 88–89, 92–93, 140, 147, 148, in Dardanus, 131, 194–196, 203 169, 175, 176, 179, 185, 186, 193, 196, in Hippolyte et Aricie, 66, 67, 72, 79–80, 90, 210, 244, 249, 286, 291 115 classical models of tragedy, 85, 181 (see also in Les Bor´eades, 218 Aristotelian poetics) in Zoroastre, 292–295 Cohen, David E., 30–31 airs contrary duos, 67–68, 69–71, as tonal anchors, 32, 34, 36 251–253 in Castor et Pollux, 124 Cowart, Georgia, 8–10 in Dardanus, 129, 196–199, 291–292 in Hippolyte et Aricie, 51–53, 54–62, 65, 74, da capo arias, 4, 144, 163, 183–188, 200–203, 79, 80–84, 86, 90–93 210, 212, 247–249 in Les Bor´eades, 169, 171–172, 175, 178–179, terminology, x 214–216, 217–218 D’Alembert,JeanleRond,2–3 in Lully’s operas, 7, 17–18 deities in Zoroastre, 134, 137, 140–141, 147, interventions, imposed by deities, 84, 148–149, 152, 153–154, 155, 203–207 89–90, 116, 117, 118, 119, 123–124, terminology, x, 56 127, 129, 145, 161, 170, 175, 177, 179, Allanbrook, Wye Jamison, 32 301–302 ancien r´egime, 1, 7, 9–11, 14, 16, 108, 109, 314, invocations, addressing deities, 79–84, 316–317 85–89, 112, 115, 116, 125, 146–147, Anthony, James, 16, 20, 21 152–153, 174, 200–203 ariettes, 117, 124, 144, 163–167, 170, 172, 176, Diderot, Denis, 2, 3, 20, 31–32 302 Dill, Charles, 5, 8, 19, 21–22, 44, 45, 49, 119, pr´eramiste use, 15 120, 136, 143, 159–160 terminology, x divertissements, elements of, 7–8, 21, 108–109, Aristotelian poetics, 47, 135 111, 133, 144, 158, 179, 302 dramatic scenes Bouissou, Sylvie, 51, 65, 157–160, 161–162, blurred boundaries with divertissements, 164, 173, 178, 211, 260 7–8, 108–109, 130, 133–134, 152–154, Brown, Leslie Ellen, 21 158, 163, 179, 296, 315 Bryson, Norman, 14–15, 131 traditional scene types in French opera, 7, Buch, David, 20, 46 47, 108, 181–182, 234, 281 Burgess, Geoffrey, 86 emotions, tempered by reason, interplay Chafe, Eric, 28–29 between the two, 4, 5, 30, 32, 33, 38, Charpentier, Marc-Antoine 108–109, 235 M´ed´ee, 47 in Dardanus, 199 chorus, dramatic role of, 130–131, 145, 178, in Hippolyte et Aricie, 49 207, 243, 245–246, 247 in Les Bor´eades, 170 split chorus, special use of, 156, 172, Encyclop´edie, 135 (see also Enlightenment; 253–254, 258 philosophes) 325 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02156-3 - Dramatic Expression in Rameau’s Tragédie en Musique: Between Tradition and Enlightenment Cynthia Verba Index More information 326 Index enharmonics, 37–45, 112 Cahusac, Louis de, 132–136, 144, 157–158, Enlightenment, 1–4, 6, 7, 9, 15, 135–137, 183, 161–162, 167, 170, 174 314–318 Le Clerc de la Bruere,` 125 music debates, 2–3, 14 (see also philosophes) Pellegrin, Simon-Joseph, 46–47, 53, 65, 135 entr’acte, 173, 266 Louis XIV, 7, 8, 9–11, 19, 144 (see also ancien r´egime) Fajon, Robert, 20 love, confessions of, obstacles to, 110, 118–119, 125–126, 171–172, 181–218 gender, opera stereotypes Lully, Jean-Baptiste, trag´edie en musique as inherited by Rameau, 9–12 conventions and established traditions, 7–8, complicated by Rameau, 8–9 10–11, 15–19 in Castor et Pollux, 118–119, 122–123, origins of French tragic opera, 18, 133 182–183 in Dardanus, 125–126, 192–194 magicians, 125, 126, 127, 192 (see also in Hippolyte et Aricie, 52 merveilleux, le) in Les Bor´eades, 161, 173, 212–213, 254, 258, major or minor, for expressive contrast 301 in Castor et Pollux, 123, 124, 236–237, 238 in Zoroastre, 138–139, 154–155, 206, in Dardanus, 129, 196, 200, 201–203, 244, 207–208 289, 290 overview, 4 in Hippolyte et Aricie, 111–112, 117 rational heroes, emotional heroines, in Les Bor´eades, 162, 167–168, 170, 172, 173, 316 175, 258, 301 Girdlestone, Cuthbert, 19, 21, 57, 69, 126, 130, in Zoroastre, 140–141, 142, 143, 150, 151, 135, 139, 151 154, 155, 156 Masson, Paul-Marie, 8, 133 harmonic overviews McClary, Susan, 12 Castor et Pollux, 120–125 Mercure de France,onHippolyte et Aricie Dardanus, 127–132 revisions, 52, 85 Hippolyte et Aricie, 109–117 merveilleux, le: supernatural beings or events, Les Bor´eades, 162–180 7, 18, 19, 20, 46, 113–115, 135, 141, Zoroastre, 139–157 149–150, 173–174 Heller, Wendy, 9 modulations, Rameau’s view of a systematic Howard, Patricia, 10–11, 138 web of tonal relationships, 6, 15, 25, 34, Hyer, Bryan, 28, 62 36–37 (see also musical expression; rational design) instinct, 5, 6, 30–31 monologues, 4, 114, 116, 117, 118, 120, 122, instrumentation, 49, 58–60, 76, 80–83, 115, 124, 126, 128, 131, 150–151, 171, 142, 149, 152, 153, 163, 164, 175, 176, 174–175, 191–192, 203, 210, 178, 189, 210, 249, 252, 294, 295, 247–249 301 monsters, 113, 114–115, 125, 127, 129, 130 as offence to reason, 22 (see also merveilleux, jealousy, 119, 133, 152 (see also rivals) le) Monteverdi, Claudio, 28–29 Katz, Ruth, 30 Moreno, Jairo, 31 kings, questions of authority, abuse of power, musical expression, Rameau’s concept of, role 85, 86, 126–127, 155–156, 162, 177, 257 of sharp keys and flats for expressive (see also Louis XIV) contrast, 1–7, 12–13, 15, 25–45, Kintzler, Catherine, 19, 47, 135, 134–136, 108–109, 157 157 music’s dualities art and science, 3, 12–13 Lewin, David, 60 feeling and reason, 1–5, 9, 13–14, 163 librettists, Rameau’s tragedies theory and practice, 6–8, 14–15, 25–26, 32, Bernard, Pierre-Joseph, 119–120 34, 45, 315–316 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02156-3 - Dramatic Expression in Rameau’s Tragédie en Musique: Between Tradition and Enlightenment Cynthia Verba Index More information Index 327 orchestra, dramatic role of, 72, 79–80, 83–84, rational design, harmony’s role 123, 130, 131, 156, 169, 170, 174–175, covert design in recitatives, 4, 5, 34, 45 178, 184–185, 194–196, 210, 238, 251, parallelisms between harmonic and 261 (see also instrumentation) emotional progressions, a process of unfolding, 6, 15, 26–27, 31, performances, Rameau’s tragedies, 52, 132, 160 158–160 (see also Bibliography) tonal anchoring strategies, 5, 6, 25–26, philosophes, on musical expression, 2–3, 12–13 32–33, 314 (see also Enlightenment) recitatives, role of, 5, 7, 14, 32–33, 120, 127, plot trajectories, 117, 125, 132–133, 136, 158, 134, 282 160, 234 (see also classical models; in Lully’s operas, 16–18 (see also dramatic dramatic scenes) scenes) pr´eramistes, 19–21 refrain: in Castor et Pollux, 189–191 Rehding, Alexander, 44 queens: rulership, decrees, 155–156, 161, 162, ritournelle, 65, 122, 142 254–257 rivals, as obstacle for lovers, 126, 133, 139–140, Quinault, 7, 10–11, 18–19 (see also Lully) 160, 181, 235–236, 242–243 Rockwell, John, 4 Racine’s Ph`edre, 46, 110 rondeau Rameau, Jean-Philippe, genres related to opera in Hippolyte et Aricie, 113–114 ballets h´eroiques in Zoroastre, 139 Na¨ıs, 132 Rosand, Ellen, 18 Za¨ıs, 132 Rosen, Charles, 37 op´era-ballets Rosow, Lois, 19, 56, 66, 115 Les Fˆetes de l’Hymen et de l’Amour, Rousseau, Jean-Jacques, 2–3, 14, 28, 44, 132 69 Les Fˆetes de Polymnie, 132 Rameau, Jean-Philippe, trag´edies en musique, Sadler, Graham, 8, 23, 65, 132, 133, 138, context and analysis 146 Castor et Pollux, 108, 117–120, 181, 191–192, Solie, Ruth, 52 234, 235–242, 281–289, 302–303 storms, 113, 123, 163–166, 173, 174, 176, Dardanus, 108, 125–127, 203, 234, 242–247, 261–263 289–292, 302–303 Hippolyte et Aricie,Chapter3,46–93, 108, Thomas, Downing, 11, 12, 19, 44, 45, 46, 47, 117, 124–125, 132, 181–182, 234, 136, 144 302–303 trag´edie en musique, Rameau’s modifications of Les Bor´eades, 108, 157–162, 216–217, 235, traditional model, 11–16, 21–22, 261–267, 296–303 135–136, 160, 315 (see also Lully) Zoroastre, 108, 132–157, 176, 210, 234, tragedy, French spoken tragedy vs. musical 247–254, 292–296, 302–303 tragedy, 18–19, 46–47, 110, 135–136 Rameau, Jean-Philippe, treatises cited Treitler, Leo, 29 Code de musique pratique, 185 D´emonstration du principe de l’harmonie, underworld, 18, 35–36, 112–113, 121–122, 183 153, 235, 241–242 G´en´eration harmonique, 121 Nouveau syst`eme de musique th´eorique, 28 Voltaire, 119–120, 121, 125, 182 Observations sur notre instinct pour la musique, 27–28, 31, 183 Webster, James, 35 © in this web service Cambridge University Press www.cambridge.org.