mid-eighteenth century, Jean-Jacques Rousseau, one of the most important French philosophers of the time, wrote Lettre sur la musique francaise (Letter on French Music) in response to the musical debate pitting French music against Italian music. In the first part of this paper, an attempt will be made to explain both Rousseau’s argument for so heavily criticizing the music of his people and what elements of Italian music he prefers; in the second half, an endeavor will be made to defend Jean-Phillipe Rameau’s
Introduction The “Querelle des Bouffons” ("Quarrel of the Comic Actors") was a cultural war over the comparative merits of French and Italian opera styles. It was divided into two camps; the supporters of Italian music known as the coin de la reine, and the partisans of French music known as the coin du roi. However the querrelle had political and social implications with supporters of the royal establishment championing French opera, they saw as being forged on the principles of French classicism
On Thursday, February 26, 2015 the music department of Oklahoma State University hosted a small concert series at 12:00 pm at the Edmund low library. There were many pieces composed by various composers and were performed by numerous people and ensemble at the concert such as OSU student Emma Jones, musicians Mikray Hasan, Charbel Yubaile, professors Sun Min Kim and Heather Lanners and the OSU trumpet ensemble. The program included Bruyères (Heather) from preludes, Book 2, Nocturne in b-flat minor
Imagine you are in a darkened theater and on stage are the actors. Behind the actors you can see the scenery. Down in front of the stage, in what is called the pit, is an orchestra and a conductor. As the orchestra plays, the actors on stage do not speak their lines they sing them! Opera is the combination of drama and music. Like drama, opera embraces the entire spectrum of theatrical elements: dialogue, acting, costumes, scenery and action, but it is the sum of all these elements, combined with
would forever impact the grand future of music. The developments that occurred during this time laid a vivid path to the creation of the Classical Period. Key composers of the Baroque era include Johann Sebastian Bach, Georg Phillip Telemann, Jean-Philippe Rameau, George Frideric Handel, Johann Pachelbel, Henry Purcell, Antonio Vivaldi, Domenico Scarlatti, Allesandro Scarlatti, Claudio Monteverdi, Marc-Antoine Charpentier and Francois Couperin. Bach’s Brandenburg Concerto No. 5 symbolizes the significant
the period as a whole. Some of the most influential composers of the time include: 1. Johann Sebastian Bach 2. George Frederic Handel 3. Antonio Vivaldi 4. George Philipp Telemann 5. Arcangelo Corelli 6. Henry Purcell 7. Domenico Scarlatti 8. Jean-Philippe Rameau 9. Johann Pachelbel 10. Giovanni Battista Sammartini (Green, 2014). The Baroque Period can be broken up into three main sections: Early, Middle and Late. In the Early Baroque Period, rhythm was free and harmonies began to emerge. However, the
the name of Marin Mersenne helped define harmonics further. He mathematically defined the first six harmonics as ratios of the fundamental frequency, 1/1, 2/1, 3/1, 4/1, 5/1 and 6/1 and he also worked on tuning systems based on harmonics [1]. Jean-Philippe Rameau, a French music theorist also attributed with defining harmonics. He published a Treatise on Harmony based on him being able to hear more than one harmonic sound when a note was played. This treatise revolutionized music theory. Sound