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Synonyms for Rameau

French composer of operas whose writings laid the foundation for the modern theory of harmony (1683-1764)

References in periodicals archive ?
In the remaining chapters, to explain Rameau's rewriting process Dill defers from a traditional, fact-laden "life-and-works" format, which can draw Rameau as an intriguing subject of history, but not as an agent in that.
They begin their foreword by quoting from Hugues Maret's 1764 Eloge historique de Mr Rameau (Dijon: Causse; Paris: Delalain, 1768), in which the Pieces de clavecin en concerts are referred to as Rameau's fourth harpsichord book.
The editors have aimed the Rameau Opera omnia at a wide audience, which may explain its success in reaching publication.
We read of Denis Diderot's poking fun at Rameau's acoustical obsessions (in Le Neveu de Rameau) by having him prowl the streets of Paris to analyze the resonance of church bells; and an account in the Choron-Fayolle Dictionnaire historique des musiciens (1810-11) mirrors our own exasperation at the theorist's rationalist pretensions by recalling a pondside escapade in which an acquaintance challenged Rameau to extract natural harmony from the din of croaking frogs.
Many of these themes will be familiar to the "enlightened" reader: the doctrine of imitation, the role of language in Rousseau's views, the methodological differences of d'Alembert and Rameau, and Diderot's vision of dramatic expression.
The edition is the source of most of the musical examples in the standard English biography of Rameau.
Since the group's founding in 1979, they have specialized in music of the French Baroque, producing an impressive catalogue of compelling recordings of works by such composers such as Charpentier, Lully and Rameau.
Based on a libretto by Tous les matins du monde author Pascal Quignard and set to music by Bernard Cavanna and Rameau, the work revolves around a poetic tale of enchantment reminiscent of many nineteenth-century ballets (orphaned youth falls in love with frog princess), but offers paraligi worlds of narrative (spoken by Preljocaj himself) and dance.
Although half the contents are, by Rameau, this does not qualify as a Rameau source, since all the Rameau pieces were copied fiom engraved editions.
Contract notice: Vosne Romanee-Street behind the Four: Supply and installation of 150 ml pipe cast 80 mm and 60 mm and resumption of private-Impasse connections Domaine de la Romane-Conti: Supply and installation of 85 ml of pipe HDPE 75 mm and recovery rue Croix-specific connections Rameau and rue Grand Velle: Supply and installation of 360 ml of iron pipe 100 mm (rue Grand'Velle) Fonte 80mm on 225 ml Rameau Cross street connections particuliersCommune resumption of Gilly les Citeaux - Route Saint Bernard: supply and installation of 200 ml of iron pipe and 125 mm supply and installation of 300 ml of iron pipe 100mm and resume individual connections
Besides Kathleen he has choreographed Rameau and Perfect Skin, which are dramatic, intriguing, and extreme.
The mid-1970s, however, marked the beginning of a veritable renaissance in the rediscovery and performance of French Baroque music in which Rameau has been but one of the beneficiaries.
Over the years, Opera Atelier has demonstrated an eclectic choice of repertoire covering a wide range of the baroque era: operas and opera ballets by Monteverdi, Charpentier, Rameau, and Lully, as well as a ballet by Weaver, a melodrame by Rousseau, and stylized classical theater by Racine.
As regards Rameau we can get pretty close to what his performing forces were: his orchestras were very large, his choirs were ample.
In Pygmalion, to music by Jean-Philipe Rameau, Turocy's choreography emphasized the comic characters called Games and Laughter, danced with appropriate, jubilant acrobatics by Fittante and Patricia Beaman, but the most charming scene was that in which the Three Graces teach the Statue, who has come to life, to dance.