The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered …
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The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered accessibility to this major new genre in seventeenth-century literature and music.
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Browne, Marilyn K. (Marilyn Kay).Opera and the Galant Homme: Quinault and Lully's Tragedie en musique, Atys, in the Context of Seventeenth-Century Modernism,
thesis,
May 1994;
Denton, Texas.
(https://digital.library.unt.edu/ark:/67531/metadc278309/:
accessed May 24, 2024),
University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu;
.
