TY - BOOK ID - 1633484 TI - Aesthetics of opera in the ancien régime, 1647-1785 PY - 2002 VL - *3 SN - 0521801885 9780521801881 PB - Cambridge : Cambridge University Press, DB - UniCat KW - Theatrical science KW - anno 1600-1699 KW - anno 1700-1799 KW - Opera KW - Music and state KW - Enlightenment KW - Music KW - Opéra KW - Musique KW - Siècle des Lumières KW - History KW - Philosophy and aesthetics KW - Politique gouvernementale KW - Histoire KW - Philosophie et esthétique KW - History. KW - Philosophy and aesthetics. KW - -Music KW - -Music and state KW - -Opera KW - -Comic opera KW - Lyric drama KW - Opera, Comic KW - Operas KW - Drama KW - Dramatic music KW - Singspiel KW - State and music KW - Cultural policy KW - Art music KW - Art music, Western KW - Classical music KW - Musical compositions KW - Musical works KW - Serious music KW - Western art music KW - Western music (Western countries) KW - Aufklärung KW - Eighteenth century KW - Philosophy, Modern KW - Rationalism KW - History and criticism KW - Social aspects KW - -Philosophy and aesthetics KW - -Drama KW - Comic opera KW - Opéra KW - Siècle des Lumières KW - Philosophie et esthétique KW - -State and music KW - Gluck-Piccinni controversy KW - Querelle des Bouffons KW - France KW - 17th century KW - 18th century KW - Opera - France - 17th century. KW - Opera - France - 18th century. KW - Music and state - France - History. KW - Enlightenment - France. KW - Music - France - Philosophy and aesthetics. KW - Opera - France - 18th century KW - Music and state - France - History KW - Enlightenment - France KW - Music - France - Philosophy and aesthetics UR - https://www.unicat.be/uniCat?func=search&query=sysid:1633484 AB - This is the first study to recognise the broad impact of opera in early-modern French culture._Downing A. Thomas considers the use of operatic spectacle and music by Louis XIV as a vehicle for absolutism; the resistance of music to the aesthetic and political agendas of the time; and the long-term development of opera in eighteenth-century humanist culture. He argues that French opera moved away from the politics of the absolute monarchy in which it originated to address Enlightenment concerns with sensibility and feeling. The book combines close readings of significant seventeenth-century and eighteenth-century operatic works, circumstantial writings and theoretical works on theatre and opera, together with a measure of reception history. Thomas examines key works by Lully, Rameau, and Charpentier, among others, and extends his reach from the late seventeenth century to the end of the eighteenth. ER -