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.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc663298 |
| Date | 12 1900 |
| Creators | Loe, Lillian Lucille |
| Contributors | Baird, Edward A. |
| Publisher | North Texas State University |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | v, 102 leaves: music, Text |
| Rights | Public, Loe, Lillian Lucille, Copyright, Copyright is held by the author, unless otherwise noted. All rights |
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