Amelia Nordin

Date of Award

2013

Document Type

Thesis

Degree Name

Bachelors

Department

Social Sciences

Second Department

Humanities

First Advisor

McCarthy, Thomas

Keywords

Rameau, Fundamental Bass, Tragedie Lyrique, 18th cen. Paris

Area of Concentration

History, Music

Abstract

Rameau's opera Castor et Pollux debuted in 1737 and was revised in 1754. During these two decades, Rameau also published theoretical treatises positing his theory of the fundamental bass and participated in literary debates over music and its cultural significance. In the 1730s, the debate was between the supporters of Rameau and those of Lully. It focused on Rameau's work with musical textual co-ordination and his incorporation of Italianate devises and harmonies. In the 1750s, the debate was between the supporters of French tragédie lyrique and the bouffonists, who supported Italian opera buffa. This was again a debate over French and Italian musical influence and developing music theory, but also had a cultural and political aspect though the bouffonists' anti-absolutist associations and their attack on the culturally French tragédie lyrique. This thesis examines the role of Castor et Pollux in the debates of the 1730s and 50s. It shows that at both points Rameau was responsible for revitalizing tragédie lyrique. The 1737 production created controversy that drew audiences interested in the debate between Lullistes and Ramistes, whereas the 1754 production solidified the place of tragedie lyrique with a successful run of over forty performances.

Rights

The author has granted New College of Florida the nonexclusive right to archive, make accessible, and distribute for educational purposes this work in whole or in part in all forms of media, now or hereafter known. The copyright of this work remains with the author.

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