The editor's thesis--Indiana University. / Vita. Photocopy of typescript. Ann Arbor, Mich. : University Microfilms, 1977. -- 21 cm. Includes bibliographical references (leaves 330-335).

Cette thèse veut s’attacher aux usages dont Jean-Philippe Rameau fut l’objet en France entre 1764 (la date de sa mort) et 1895 (la date usuellement identifiée comme étant celle de sa résurrection, alors que commencent à paraître ses Œuvres complètes aux éditions Durand). Le temps intermédiaire n’est en effet pas celui d’un oubli : célébré comme un « grand homme » au lendemain de son décès, et ne disparaissant jamais des consciences et des cultures musiciennes, Rameau est d’abord critiqué (1764-1831), avant d’être réécouté (1832-1895). Sa musique souffre d’être ancienne en des temps progressistes consacrant l’esthétique gluckiste. Le concert saura pourtant après 1830 mettre parfois son historicité en valeur (un « désir d’authenticité » s’appuyant d’abord sur un goût pour la « couleur locale »); il saura aussi la gommer, fabriquant des standards ramistes ; ou bien la transcender dans l’image d’un « musicien charmant ». Le paradigme historiciste était, au XVIIIe siècle, en concurrence avec un classement « national » du musical (par ailleurs mis à mal par le cosmopolitisme gluckiste) ; il s’y associera pourtant à la fin du XIXe siècle pour une définition patrimoniale de la « musique française » où Rameau jouera son rôle. Le monde qui se développe sans Rameau après les années 1780 est un monde qui s’est spécifiquement constitué contre lui ; c’est pourtant dans ce monde-là que se redéploiera une écoute de Rameau qui, d’abord constituée à l’école d’autres répertoires, finira par devenir une écoute ramiste. / This thesis strives to present the different ways Rameau was considered by critics in France between 1764 (date of death) and 1895 (the year usually associated to Rameau’s revival and the time at which his Œuvres complètes were published by Durand). Meanwhile, Rameau was not forgotten. Acclaimed as a genius after his death, he remained present in musical mind and culture. His work was first criticized (1764-1831) before coming back into favor (1832-1895). In a progressive era that glorified the aesthetics of Christoph Willibald Gluck, Rameau’s music was stigmatized for being ancient. After 1830, public performance would simultaneously enhance its historicity (born from a taste for the authentic stimulated by the desire for a bit of local color) and erase it, thus creating a new variety of favorite Ramist tunes, and beyond them clichés of a gracious musician. In the XVIIIth century, the historicist paradigm competed against a classification of all things musical on the basis of nationality (in itself affected by gluckian cosmopolitism) only to reappear in association with it at the end of the XIXth century, thus contributing to the gradual definition of French music in relationship to past references in which Rameau will have a leading part. The musical world that developed without Rameau after 1780 was pointedly hostile to his work. It is none the less in that same world that a new focus on the composer gradually emerged, wrought in the light of other repertoires, that gave way to what became known as the « écoute ramiste ».

Jean-Philippe Rameau affirme que l'harmonie a pour principe la basse fondamentale. Il soutient également que cette basse fondamentale est quelque chose qui peut se sentir dans la pratique musicale. Néanmoins, il ne considère pas ce sentiment comme une justification suffisante pour son principe. En conséquence, il n'explique pas précisément en quoi ce sentiment peut consister, et préfère donner des arguments physico-mathématiques.La présente thèse traite du problème suivant: qu'est-ce donc que sentir la basse fondamentale, et ce sentiment est-il réellement inapte à justifier ce concept? Pour y répondre, il faut prêter attention aux opérations par lesquelles le lecteur de Rameau est invité à cultiver sa sensibilité à l'harmonie. Il s'agit de commenter ces opérations à l'aide de la phénoménologie de Husserl. Pour produire une phénoménologie de la basse fondamentale, il importe de décrire les sons avec plus de précision que Rameau ne le fait dans ses traités. Cela peut être réalisé grâce au solfège généralisé de Pierre Schaeffer.Mais pour cela, un travail préparatoire est nécessaire. L'introduction vise à montrer qu'il n'y a rien d'étrange, pour traiter de l'harmonie du dix-huitième siècle, à se servir des travaux de Schaeffer. Les quatre premiers chapitres ont pour but de clarifier le concept de basse fondamentale. Les quatre derniers visent à produire une phénoménologie de certains aspects du son, de l'harmonie et de la basse fondamentale. Il apparaît alors que le sentiment peut effectivement justifier la décision de considérer la nasse fondamentale comme le principe de l'harmonie; mais une telle justification n'a pas toute la force que recherchait Rameau. / Jean-Philippe Rameau has claimed that the fundamental bass is the principle of harmony. He also presents this fundamental bass as something which can be felt in musical practice. Nevertheless, he doesn't consider that feeling as a sufficient justification for his principle. As a consequence, he doesn't explain precisely what that feeling consists in, and he prefers to develop some physical and mathematical arguments to prove his theory.This thesis deals with the following issue: what is it like to feel the fundamental bass, and does this feeling really offer no sufficient justification for that concept? To answer those questions, attention has to be paid to the operations by which Rameau's reader is supposed to cultivate his own sensibility to harmony; and they shall be commented with the help of husserl's phenomenology. To provide a phenomenology of the fundamental bass, it is necessary to describe sounds more precisely than Rameau does in his treatises. Such a description shall be achieved thanks to Pierre Schaeffer's generalized solfeggio.But to make it possible, some preliminary work is required. An introduction shall argue that there is nothing strange in using Schaeffer's work to deal with harmony of the eighteenth century. The first four chapters are intended to clarify the concept of fundamental bass. The last four chapters are intended to produce a phenomenology of some aspects of sound, harmony and fundamental bass. At the end of this thesis, it appears that feeling can justify the fundamental bass to be considered as the principle of rules; but this justification does not have the strength Rameau was looking for.

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Sabemos que a querela entre Jean-Jacques Rousseau (1712-1778) e Jean-Philippe Rameau (1683-1764) está sujeita a diferentes leituras, cujo interesse muitas vezes foi reduzido a um curioso anedotário ou a uma disputa produzida tão somente pelos humores de ambos. Nesta pesquisa, contudo, para além do relato biográfico e das conjecturas sobre as causas da rivalidade entre Rousseau e Rameau, intentamos priorizar uma análise que buscasse balizar os posicionamentos estéticos de um e outro, com ênfase nos argumentos expostos por Rousseau em sua contraposição ao sistema harmônico de Rameau. Ao longo deste debate, entendemos que, ao esquadrinhar e, posteriormente, criticar os escritos de Rameau, Rousseau teria encontrado ideias extraordinariamente férteis que favoreceram o desenvolvimento de seu pensamento musical. Para sustentar a tese da preeminência da melodia sobre a harmonia, assim contrariando os princípios do sistema ramista, o autor da maior parte dos verbetes sobre música da Enciclopédia, da Carta sobre a música francesa e do Dicionário de música, jamais deixaria de se referir ao sistema harmônico de seu rival. A presente pesquisa tem como objetivo compreender a querela Rousseau-Rameau sob este aspecto, assim como apontar a relação da disputa assinalada com inflamados debates que também estiveram em pauta na França da segunda metade do século XVIII, a exemplo da Querela dos Bufões. Para tanto, além de examinar aspectos pontuais dos escritos musicais já mencionados, cotejando-os com alguns dos principais textos da vasta obra teórica de Rameau, procuramos nos deter na análise do texto de Rousseau intitulado Exame de dois princípios avançados pelo Sr. Rameau, cuja tradução apresentamos em anexo. / We know that the quarrel between Jean-Jacques Rousseau (1712-1778) and Jean- Philippe Rameau (1683-1764) is subject to different readings, whose interest has often been reduced to a curious collection of anecdotes or to a dispute produced only by the humors of both. In this research, however, beyond the biography and the conjectures about the causes of the rivalry between Rousseau and Rameau, we aim to prioritize an analysis that sought to mark the aesthetic positioning of one and the other, with emphasis on Rousseaus arguments as opposed to the harmonic system of Rameau. Throughout this debate, we understand that Rousseau, by scrutinizing and later criticizing Rameaus writings, would have found extraordinarily fertile ideas that favored the development of his musical thinking. To support the thesis of the preeminence of melody over harmony, thus contradicting the principles of the Rameaus system, the author of most of the articles on music at the Diderots Encyclopedia, of the Letter on French Music, and the Dictionary of Music, would never fail to refer to the harmonic system of his rival. The present research aims to understand the quarrel between Rousseau and Rameau in this aspect, as well as to point out the relationship of this dispute with inflamed debates that also were in agenda in France during the second half of the Eighteenth-Century, like the Quarrel of the Bouffons. Therefore, in addition to examining specific aspects of the musical writings already mentioned, comparing them with some of the main texts of Rameaus vast theoretical work, we seek to focus on the analysis of Rousseaus text entitled Examination of Two Principles Advanced by M. Rameau, whose translation into Portuguese we presented attached.

Cette thèse porte sur Les Fêtes de l’Hymen et de l’Amour, ballet héroïque de Jean-Philippe Rameau sur un livret de Louis de Cahusac, créé le 15 mars 1747 à Versailles à l’occasion du second mariage du Dauphin. L’étude se consacre à l’histoire de l’œuvre, explorant ainsi ses diverses représentations, ses remaniements successifs en passant par le rayonnement de l’opéra sur le spectacle lyrique de l’époque. Elle s’intéresse également à la figure de Louis de Cahusac, à ses théories sur l’opéra et le ballet, aux sources d’inspirations de son livret puisant dans l’égyptologie et la franc-maçonnerie. Elle aborde par ailleurs le traitement musical du compositeur. Pour finir, cette étude propose une édition du livret et de la partition accompagnée d’un apparat critique et du catalogue des sources de l’opéra. / This thesis focuses on Les Fêtes de l’Hymen et de l’Amour, an heroic ballet written by Jean-Philippe Rameau with a libretto by Louis de Cahusac, created on March 15th, 1747 in Versailles for the Dauphin’s second wedding. The study is about the history of the piece, exploring its various representations, its successive changes and the influence of this opera on the lyric show of the xviiith century. It is also interested in the figure of Louis de Cahusac, his theories on opera and ballet, the inspirations of his libretto drawing Egyptology and Freemasonry. It also addresses the composer’s musical treatment. Lastly, this study offers an edition of the libretto and the score accompanied by a critical apparatus and a catalog’s sources of the opera.

Sabemos que a querela entre Jean-Jacques Rousseau (1712-1778) e Jean-Philippe Rameau (1683-1764) está sujeita a diferentes leituras, cujo interesse muitas vezes foi reduzido a um curioso anedotário ou a uma disputa produzida tão somente pelos humores de ambos. Nesta pesquisa, contudo, para além do relato biográfico e das conjecturas sobre as causas da rivalidade entre Rousseau e Rameau, intentamos priorizar uma análise que buscasse balizar os posicionamentos estéticos de um e outro, com ênfase nos argumentos expostos por Rousseau em sua contraposição ao sistema harmônico de Rameau. Ao longo deste debate, entendemos que, ao esquadrinhar e, posteriormente, criticar os escritos de Rameau, Rousseau teria encontrado ideias extraordinariamente férteis que favoreceram o desenvolvimento de seu pensamento musical. Para sustentar a tese da preeminência da melodia sobre a harmonia, assim contrariando os princípios do sistema ramista, o autor da maior parte dos verbetes sobre música da Enciclopédia, da Carta sobre a música francesa e do Dicionário de música, jamais deixaria de se referir ao sistema harmônico de seu rival. A presente pesquisa tem como objetivo compreender a querela Rousseau-Rameau sob este aspecto, assim como apontar a relação da disputa assinalada com inflamados debates que também estiveram em pauta na França da segunda metade do século XVIII, a exemplo da Querela dos Bufões. Para tanto, além de examinar aspectos pontuais dos escritos musicais já mencionados, cotejando-os com alguns dos principais textos da vasta obra teórica de Rameau, procuramos nos deter na análise do texto de Rousseau intitulado Exame de dois princípios avançados pelo Sr. Rameau, cuja tradução apresentamos em anexo. / We know that the quarrel between Jean-Jacques Rousseau (1712-1778) and Jean- Philippe Rameau (1683-1764) is subject to different readings, whose interest has often been reduced to a curious collection of anecdotes or to a dispute produced only by the humors of both. In this research, however, beyond the biography and the conjectures about the causes of the rivalry between Rousseau and Rameau, we aim to prioritize an analysis that sought to mark the aesthetic positioning of one and the other, with emphasis on Rousseaus arguments as opposed to the harmonic system of Rameau. Throughout this debate, we understand that Rousseau, by scrutinizing and later criticizing Rameaus writings, would have found extraordinarily fertile ideas that favored the development of his musical thinking. To support the thesis of the preeminence of melody over harmony, thus contradicting the principles of the Rameaus system, the author of most of the articles on music at the Diderots Encyclopedia, of the Letter on French Music, and the Dictionary of Music, would never fail to refer to the harmonic system of his rival. The present research aims to understand the quarrel between Rousseau and Rameau in this aspect, as well as to point out the relationship of this dispute with inflamed debates that also were in agenda in France during the second half of the Eighteenth-Century, like the Quarrel of the Bouffons. Therefore, in addition to examining specific aspects of the musical writings already mentioned, comparing them with some of the main texts of Rameaus vast theoretical work, we seek to focus on the analysis of Rousseaus text entitled Examination of Two Principles Advanced by M. Rameau, whose translation into Portuguese we presented attached.

By the early eighteenth century, French music was tangibly influenced by the Italian style which had already permeated much of Europe. The French Cantata is symptomatic of that often disparaged influx. The cantatas of Rameau are a significant contribution to an important form. Written almost entirely in the early years of the artist's career, they hold details of his stylistic development. In the present study of Rameau's cantatas several aspects of his style are discussed as they relate both to his theoretic writings and to the various influences of the time. Examples of those stylistic elements found in the cantatas are cited and discussed. There is, as well, a comparison of the works to the poetic form standardized by Rousseau.

It is assumed that the performer of Le Berger Fidele will be capable of a more accurate performance and a more historically authoritative interpretation if he thoroughly understands all musical aspects of the cantata. Due to the lack of written directions from earlier composers, it is important that the performer research the period, composer, and composition to insure a more accurate, interpretive performance. The first chapter delves into the life and works of Rameau. The second chapter follows the development of the French solo cantata from the beginning of the art song to its culmination. Ornaments peculiar to French cantata are discussed in the third chapter. In Chapter IV each pair of recitative and aria is examined and analyzed according to form, harmony, rhythm, melody (including phrasing), dynamics and ornaments, and instrumentation. The cantata is built up in a succession of three arias. Each aria is da capo in form and is preceded by a recitative and an instrumental introduction. Each air is concluded with an instrumental postlude.