This three-volume study considers two major groups of Charpentier's oeuvre: the self-contained musico-dramatic Pastorales composed for his pious patroness, the Duchesse de Guise, and others; and the intermedes and incidental music written for Moliere and the Comedie-Franpise. The Introduction to Volume One sets Charpentier in his milieu in late seventeenth-century France and provides a background to the categories of stage work for which he composed. Chapter one discusses the Pastorale, its history, the de Guise household, and Charpentier's compositions, and chapter two the intermedes and incidental music for the Comedie-Franpise, mentioning the relationship between Moli-ere and Lully, Lully's ordinances, the personnel, and the works. Chapter three discusses the music of all these works in five categories (instrumental music, recitatif and ariose, air, ensemble, and choruses) and attempts to draw some conclusions. Volume one concludes with an appendix which cites the sources of all the works under discussion, and a bibliography. The most important contribution of this thesis is the nine complete transcriptions contained in Volumes Two and Three (five Pastorales in Volume Two and incidental music for four Comedie-Fransaise productions in Volume Three) along with commentary. In addition, Volume Two outlines the editorial procedures adopted for the transcriptions and includes comments on such matters as key signatures, time signatures and tempi, and ornamentation.

Thèse (M.A.)--Université de Sherbrooke (Canada), 2007. / Titre de l'écran-titre (visionné le 1 février 2007). In ProQuest dissertations and theses. Publié aussi en version papier.

Fonds Français 2245 is a fifteenth-century chansonnier of the Duke of Orleans which is property of the Bibliothèque Nationale in Paris, France. This thesis describes the document and provides commentary and transcriptions.

Thesis (Ph. D. in French)--Vanderbilt University, May 2005. / Title from title screen. Includes bibliographical references.

This annotated translation of Chabanon's Musique considérée with accompanying analysis seeks to establish the aesthetic principles expressed in his book as a significant and independentdeparture from the musical doctrines which prevailed in eighteenth-century France.

Studies of eighteenth-century French musical aesthetics have traditionally focused on questions of taste treated in the critical literature of the day. During the first half of the century, however, certain French writers were dealing with aesthetics in the stricter sense of the word, proposing theories of beauty that suited existing philosophical values. The treatises in which these ideas were set forth--Jean-Pierre de Crousaz' Traité du beau, Jean-Baptiste DuBos' Réflexions critiques sur la poësie et sur la peinture, Yves-Marie André's Essai sur le beau, and Charles Batteux' Les Beaux arts réduits à un même principe--are among the first learned writings to present the musical experience in something other than a mathematical or pedagogical light. This study investigates not only the role music played in these theories of beauty, but also the methodological problems inherent in translating this data into historical information.

Thesis (doctoral)--Université de Paris X, 1971. / Includes bibliographical references (p. 727-730) and index.

Thesis (doctoral)--Université de Paris X, 1971. / Includes bibliographical references (p. 727-730) and index.

Thesis (M.A.)--Boston University

As a prominent female composer educated at the court of Louis the XIV, Elizabeth-Claude Jacquet de La Guerre already has a notable place in history. Among her compositions are a dozen cantatas based on Biblical texts. As most of her male counterparts primarily composed secular cantatas set to mythological texts, Jacquet de La Guerre’s sacred cantatas stand out as anomalous in the repertoire. Questions arise as to where they were performed and why they were written. The main barrier to this knowledge is the lack of primary sources on her daily life. This study proposes a new methodology to reevaluate Jacquet de La Guerre’s role in developing the French cantata form as a unique genre, further clarify the function and value of her sacred cantatas, and reconsider their place in the canon. Traditional methodologies in historical musicology, though foundational and valuable, by nature obscure relevant insight and appreciation of these works, which defy traditional categorization. To fill in the gaps in primary sources and broaden and deepen our understanding of French sacred cantatas and Jacquet de La Guerre’s work, this study uses Bruno Latour’s Actor-Network Theory, a sociological and philosophical model for describing and assembling information, in combination with Steven Feld’s series of qualitative, ethnographic questions for music evaluation, a sociomusicological and ethnomusicological model introduced in his article “Sound Structure as Social Structure.” In doing so, this study markedly diverges in perspective from traditional musicological and theoretical approaches. The goal of this methodology is to first reexamine Jacquet de La Guerre scholarship as a check for inherited assumptions or unconscious bias in the approach and then proceed with critical inquiry in this fresh space to unpack the function and value of her sacred cantatas. This study sheds light on the relatively rare and currently underperformed sacred cantata form in eighteenth century France, using Jacquet de La Guerre’s sacred cantatas as a case study. It finds that Jacquet de La Guerre’s sacred cantatas were experimental, progressive, and intellectual in form; likely meant for entertainment, edification, and instruction in function; and highly regarded in value. The methodology described and then employed in this study takes considerable strides in reassessing Jacquet de La Guerre’s activity as both a respected intellectual and celebrated composer in early modern France, in highlighting her role in developing the French cantata form, in clarifying the function and value of her sacred cantatas, and in demonstrating how this reassembled knowledge creates more informed and compelling performances of her music. / 2026-09-25T00:00:00Z