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Essential agrements: Art, dance, and...

Martin, Margot.

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Essential agrements: Art, dance, and civility in seventeenth-century French harpsichord music.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Essential agrements: Art, dance, and civility in seventeenth-century French harpsichord music./
作者:	Martin, Margot.
面頁冊數:	228 p.
附註:	Co-Chair: Malina Stefanovsks; Harris S. Saunders, Jr.
Contained By:	Dissertation Abstracts International57-09A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9705540
ISBN:	0591123142

Essential agrements: Art, dance, and civility in seventeenth-century French harpsichord music.
Martin, Margot.

Essential agrements: Art, dance, and civility in seventeenth-century French harpsichord music. - 228 p.

Co-Chair: Malina Stefanovsks; Harris S. Saunders, Jr.

Thesis (Ph.D.)--University of California, Los Angeles, 1996.

This study examines seventeenth-century French harpsichord music as an extension of aristocratic culture and ideology during the reign of Louis XIV. It focuses especially on the music published between the years 1687 and 1707, using as representative composers Elizabeth-Claude Jacquet de La Guerre, Jean-Henri d'Anglebert, and Gaspard Le Roux. It sets forth an approach for evaluating this music according to criteria established by the conventions from which this music developed, and it assesses this music with regard to the cultural ideals that determined taste and aesthetic value. Contemporaneous theories and practices of dance, painting, civility, and literature serve as the foundation for analysis.

ISBN: 0591123142Subjects--Topical Terms:

1018076
History, European.

Essential agrements: Art, dance, and civility in seventeenth-century French harpsichord music.
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245 1 0 $a Essential agrements: Art, dance, and civility in seventeenth-century French harpsichord music.
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500 $a Co-Chair: Malina Stefanovsks; Harris S. Saunders, Jr.
500 $a Source: Dissertation Abstracts International, Volume: 57-09, Section: A, page: 3740.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 1996.
520 $a This study examines seventeenth-century French harpsichord music as an extension of aristocratic culture and ideology during the reign of Louis XIV. It focuses especially on the music published between the years 1687 and 1707, using as representative composers Elizabeth-Claude Jacquet de La Guerre, Jean-Henri d'Anglebert, and Gaspard Le Roux. It sets forth an approach for evaluating this music according to criteria established by the conventions from which this music developed, and it assesses this music with regard to the cultural ideals that determined taste and aesthetic value. Contemporaneous theories and practices of dance, painting, civility, and literature serve as the foundation for analysis.
520 $a Chapter I discusses harpsichord music according to seventeenth-century notions of artistic depiction and representation, especially with regard to expressive style and the portrayal of movement. Chapter 2 views the harpsichord's musical style as a variant of the figurative precieux style of speech and writing in vogue in the salons, and Chapter 3 connects musical practices to aspects of sociability in polite society. It studies the dances of the harpsichord suite as a reflection of social ceremony and as a substantiation of social hierarchy and examines the dances as they relate to the philosophy of honnetete and the customs of ballroom dance and ballet. Chapter 4 demonstrates how harpsichord composers used the manipulation of motion as a means of expression and shows how their management of interior rhythm corresponded to principles of rhetoric and declamation. Chapter 5 then considers the social concept of agrement, which encompassed the ideas of grace, refinement, and good taste, and explores the parallels between agrements in music and agrement in society.
520 $a This study illustrates the close ties that existed between music and society in seventeenth-century France and demonstrates that harpsichord music was both a product and a perpetuator of its society's values and customs. It shows that agrements were an integral part of the music, not just "ornamentation" as they are often viewed today, and it reveals harpsichord music to be an intricate form of expression that reflected the mores and fashions of polite society in Early Modern France.
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