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Ritual in the tragedie en musique fr...

Burgess, Geoffrey Vernon.

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Ritual in the tragedie en musique from Lully's "Cadmus et Hermione" (1673) to Rameau's "Zoroastre" (1749).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Ritual in the tragedie en musique from Lully's "Cadmus et Hermione" (1673) to Rameau's "Zoroastre" (1749)./
Author:	Burgess, Geoffrey Vernon.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1998,
Description:	782 p.
Notes:	Source: Dissertations Abstracts International, Volume: 60-01, Section: A.
Contained By:	Dissertations Abstracts International60-01A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9831083
ISBN:	9780591840124

Ritual in the tragedie en musique from Lully's "Cadmus et Hermione" (1673) to Rameau's "Zoroastre" (1749).
Burgess, Geoffrey Vernon.

Ritual in the tragedie en musique from Lully's "Cadmus et Hermione" (1673) to Rameau's "Zoroastre" (1749). - Ann Arbor : ProQuest Dissertations & Theses, 1998 - 782 p.

Source: Dissertations Abstracts International, Volume: 60-01, Section: A.

Thesis (Ph.D.)--Cornell University, 1998.

This item must not be sold to any third party vendors.

Created under the artistic direction of Jean-Baptiste Lully and Philippe Quinault and the surveillance of Louis XIV, the tragedie en musique was considered the principal and noblest form of French Baroque opera. Despite the importance of the tragedie en musique to the validation and re-affirmation of the ancien regime, a systematic study of its ritualistic aspects of has never been undertaken. As well as examining the most important rituals enacted in these operas, this dissertation addresses the procedures by which the works themselves functioned as ritualistic representations of sovereignty. Part I presents a theoretical approach and identifies the main structural manifestations of ritual in the tragedie en musique. The Introduction provides a broad overview of the genesis and development of the genre, outlines its reception history, and addresses problems relating to sources. Chapter 1 focuses on the poetics of the genre and discusses how these operas functioned as representations of sovereign power. Chapter 2 re-articulates some of the issues introduced in the previous chapter from the perspective of ritual studies. It proposes a definition of ritual that stresses the importance of performativity and temporal articulation, and presents a taxonomy of ritualistic modalities that serves as the framework for the case studies in later chapters. Chapter 3 focuses on the interaction between text and music and how the modalities formed by the different balances between these two parameters affects temporal perception which, in turn, operates as an indicator of ritual signification. Chapter 4 explores strategies by which the modalities are framed and articulated. It includes discussions of the ouverture, prologue, and the relationship between the tragedie and divertissement. Part II comprises detailed case studies. Chapter 5 examines demonic invocations performed by the sorceress Medee in five operas, and proposes a theory explaining the function of the sorceress in the representation of sovereignty. Chapter 6 presents a reading of oracles and ritual violence, and the final two chapters are devoted to celebratory rituals. Chapter 7 describes the musical and dramatic characteristics of pastoral celebrations; Chapter 8 identifies the heroic celebrations, and specifically the chaconnes and passacailles that they contain, as the ritualistic cruxes of these works.

ISBN: 9780591840124Subjects--Topical Terms:

516178
Music.

Ritual in the tragedie en musique from Lully's "Cadmus et Hermione" (1673) to Rameau's "Zoroastre" (1749).
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245 1 0 $a Ritual in the tragedie en musique from Lully's "Cadmus et Hermione" (1673) to Rameau's "Zoroastre" (1749).
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500 $a Source: Dissertations Abstracts International, Volume: 60-01, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
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502 $a Thesis (Ph.D.)--Cornell University, 1998.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Created under the artistic direction of Jean-Baptiste Lully and Philippe Quinault and the surveillance of Louis XIV, the tragedie en musique was considered the principal and noblest form of French Baroque opera. Despite the importance of the tragedie en musique to the validation and re-affirmation of the ancien regime, a systematic study of its ritualistic aspects of has never been undertaken. As well as examining the most important rituals enacted in these operas, this dissertation addresses the procedures by which the works themselves functioned as ritualistic representations of sovereignty. Part I presents a theoretical approach and identifies the main structural manifestations of ritual in the tragedie en musique. The Introduction provides a broad overview of the genesis and development of the genre, outlines its reception history, and addresses problems relating to sources. Chapter 1 focuses on the poetics of the genre and discusses how these operas functioned as representations of sovereign power. Chapter 2 re-articulates some of the issues introduced in the previous chapter from the perspective of ritual studies. It proposes a definition of ritual that stresses the importance of performativity and temporal articulation, and presents a taxonomy of ritualistic modalities that serves as the framework for the case studies in later chapters. Chapter 3 focuses on the interaction between text and music and how the modalities formed by the different balances between these two parameters affects temporal perception which, in turn, operates as an indicator of ritual signification. Chapter 4 explores strategies by which the modalities are framed and articulated. It includes discussions of the ouverture, prologue, and the relationship between the tragedie and divertissement. Part II comprises detailed case studies. Chapter 5 examines demonic invocations performed by the sorceress Medee in five operas, and proposes a theory explaining the function of the sorceress in the representation of sovereignty. Chapter 6 presents a reading of oracles and ritual violence, and the final two chapters are devoted to celebratory rituals. Chapter 7 describes the musical and dramatic characteristics of pastoral celebrations; Chapter 8 identifies the heroic celebrations, and specifically the chaconnes and passacailles that they contain, as the ritualistic cruxes of these works.
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