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Music and the Language of Love
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summary

Simple songs or airs, in which a male poetic voice either seduces or excoriates a female object, were an influential vocal genre of the French Baroque era. In this comprehensive and interdisciplinary study, Catherine Gordon-Seifert analyzes the style of airs, which was based on rhetorical devices of lyric poetry, and explores the function and meaning of airs in French society, particularly the salons. She shows how airs deployed in both text and music an encoded language that was in sensuous contrast to polite society's cultivation of chaste love, strict gender roles, and restrained discourse.

Table of Contents

  1. Cover
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  1. Title Page, Copyright Page, Dedication Page
  2. pp. iii-v
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  1. Contents
  2. pp. vii-ix
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  1. Acknowledgments
  2. p. xi
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  1. Note on Quotations, Translations, and Musical Examples
  2. p. xiii
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  1. Introduction
  2. pp. 1-9
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  1. Chapter 1: Music and Texts: An Overview of the Sources
  2. pp. 11-40
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  1. Chapter 2: Rhetoric and Meaning in the Seventeenth-Century French Air
  2. pp. 41-57
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  1. Chapter 3: Musical Representations of the Primary Passions
  2. pp. 58-95
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  1. Chapter 4: Setting the Texts
  2. pp. 96-137
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  1. Chapter 5: Form and Style: The Organization and Function of Expressions, Syntax, and Rhetorical Figures
  2. pp. 138-184
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  1. Chapter 6: L’Art du Chant: Performing French Airs
  2. pp. 185-229
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  1. Chapter 7: Salon Culture and the Mid-Seventeenth-Century French Air [Includes Image Plates]
  2. pp. 230-267
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  1. Chapter 8: The Late-Seventeenth-Century Air and the Rhetoric of Distraction
  2. pp. 268-287
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  1. Appendix: Translations for Musical Examples and Emblems
  2. pp. 289-295
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  1. Notes
  2. pp. 297-344
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  1. Bibliography
  2. pp. 345-367
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  1. Index [Includes About the Author]
  2. pp. 369-391
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