Cover

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Title Page, Series Page, Copyright, Dedication

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pp. i-vi

Contents

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pp. vii-viii

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Preface

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pp. ix-xvi

...reflections of historiographic and musicological practice. Rather, I mean to call attention to Rameau's role as an agent in history. Few eighteenth-century composers worked...

Abbreviations

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pp. xvii-xxii

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1. Monstrous Opera

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pp. 3-30

...had expressed dissatisfaction with them, and in response the composer or the publisher removed them. The word scene implied various things in eighteenth-century France, but since the composer went on to list what remained after removing them, what...

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2. Different Tragedies

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pp. 31-56

...the tragedies. I refer rather to the larger distinctions arising from the drive or even need to constitute and reconstitute these works ontologically, the contradictions attending...

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3. Rameau's Twins

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pp. 57-105

...with controversy. Musicians refused to perform portions of it, and, as we will see, they forced poet and composer to alter other scenes during the earliest stages of the production. Yet, in spite of this, Rameau's status as a composer was now...

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4. Rameau Mise-en-Scene

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pp. 106-134

...presenting nothing particularly new in his tragedies: the surprising harmonizations and elaborate orchestrations, however mesmerizing their effect on audiences, were the logical extensions...

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5. In the Mirror

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pp. 135-152

...manner. If we wanted to pursue this view of Rameau, we could find substantial support for it also in the writings of his contemporaries, who so often remind us of the necessity of familiarizing oneself with Rameau's music before fully appreciating...

Notes

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pp. 153-182

Sources Cited

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pp. 183-194

Index

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pp. 195-198

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About the Author

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pp. 199-199

...CHARLES DILL is Associate Professor of Music History at the University of Wisconsin-Madison...