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The present article traces the evolution and development of the French chanson, focusing on the Parisian chanson and the changes underwent by the genre under the influence of the group La Pléiade. One of the most important contributions France has made to the music of the Renaissance, the chanson embodies the endeavors that guided French artists of the Renaissance to prove that the French language possessed all the necessary qualities for becoming a poetic language. Relinquishing the sobriety of the Franco-Flemish school, Renaissance composers turned to a simpler, more melodious expression in their works, striving to place the text at the forefront. The 1520's witnessed the emergence of a new type of chanson, generally known as the Parisian chanson, with its lyrical and narrative versions, exemplified by the works of such composers as Claudin de Sermisy or Clément Janequin. From the complex polyphonic works, composers turned to more transparent textures, characterized by homorhythm and homophony. The chanson was also influenced by the ideals proposed by the Pléiade group, which placed poetry at the forefront, the music following the metric and rhythmic patterns of the declamation - a practice that became known as musique mesurêe and was represented by the works of Claude Le Jeune. Finally, the end of the 16th century brought about the gradual replacement of the genre with the air du cour, which would gain popularity in the 17th century. Nonetheless, the particularities of the musique mesurêe would have a great influence on declamation and the importance of the accents in song -concepts that lies at the core of French vocal music of the following centuries. The analysis proposed by the authors presents pieces that are representative for the evolution of the genre, striving to reveal the particularities of each period in the development of the chanson. [ABSTRACT FROM AUTHOR]

The present study aims to investigate the delicate border between oratorios and operas based on biblical subjects, focusing on French music. A brief analysis of the period prior to the 19th century reveals that the oratorio was not one of the most popular genres in France, allowing the genesis of various genres inspired by biblical subjects. The oratorio enjoyed a brief revival in the 18th century, leading in the 19th century to the composition of biblical operas and the dawn of genres that are at the crossroads between opera and oratorio: mystére, drame sacré, or légende sacrée, represented by works of Jules Massenet. Although traditionally referred to as oratorios, these works allowed for staged representation, due to the dramatic qualities of the librettos, which in turn allowed for the musical discourse to depart from the sobriety of the oratorio and to include certain features that are characteristic for opera. Gradually, biblical subjects began to be tackled in operas as well, as will be seen in the works of Camille Saint-Saëns and Jules Massenet, the two composers on whose works the present study mainly focuses. At the same time, biblical themes can be related to musical orientalism, but also to the fin de siècle decadent aesthetic (through their exploration of such themes as the opposition between sacred and erotic love), serving as mirror for the political, social, and religious context of the Third Republic. [ABSTRACT FROM AUTHOR]

In the final decades of the 19th century and in the 20th century, exoticism and orientalism contributed greatly to the evolution and innovation of Western music composition. Using the rules and techniques of Western music, composers incorporated in their works elements pertaining to or inspired by foreign cultures and their music. The current study continues the investigations brought to attention by the authors in their previous articles: it desires to reveal and analyze the way exoticism and orientalism influenced the creation of various composers, pointing to those aspects that represented innovation brought about by the contact with the music and culture of other cultures than the Western world. The musical language of Messiaen is deeply rooted in the universal musical heritage, comprising elements belonging to the music of the Ancient Greeks, the Orient, Africa, or Europe. The present paper presents and offers examples regarding the way rhythm and melody are organized and employed by Messiaen using means that are inspired by Hindu music: the correspondence between the deçî-tâlas (Hindu rhythms) and Messiaen’s use of rhythm, as well as the similarities between the Hindu rāga and the modes of limited transposition. Apart from the Hindu influences on rhythm and melody, Messiaen was also inspired by the Japanese Gagaku, its instruments, and relation between harmony and melody, as well as Indonesian music (Balinese and Javanese), both having an important influence on the way the composer perceives and creates timbre. But apart from striving to create new means of musical expression using exotic elements, Messiaen desired to unveil certain spiritual and theological truths, mirrored in his music and the construction of his musical discourse. [ABSTRACT FROM AUTHOR]

The first decades of the 20th century, particularly the post-war era, brought about numerous philosophical and cultural changes. Exoticism and orientalism were concepts that still governed arts and music, however the philosophical concepts that lay beyond the use of exotic or oriental themes was gradually altered. Exoticism represented more than the possibility for artists to create an idealized elsewhere, inspired by the contact with foreign cultures and their artistic products. It also offered artists the opportunity to express the complex meaning of various symbols associated with exoticism. In this context, Western society gradually turned toward a new aesthetic that could provide artists with an apparent connection to the roots of mankind. Primitivism, associated with folk art and mythology, represented a utopic state, prior to civilization or colonialism, but at the same time, it offered the possibility to explore certain archetypal symbols and express their possible meaning through art. Art nègre, represented by African and African American art and music, was most often associated with this aesthetic of primitivism, and influenced the works of Western artists. French composer Darius Milhaud returns to the theme of origins and creation in the work La création du monde, which combines elements associated with the concept of primitivism, with jazz music and Western compositional techniques. [ABSTRACT FROM AUTHOR]

As part of a larger study which compresses three layers of analyses — dramatic, visual, and musical — the present article deals with the rhythmic component of the musical phenomenon in French operas within a half century timeframe, 1862–1923. Orientalism and exoticism were represented through melody, rhythm, timbre, and libretti in operas by F. David, G. Bizet, L. Delibes, J. Massenet, and A. Roussel. The melodic dimension, discussed in a previous study, offered perhaps more opportunities for the evocation of an allegedly oriental sound than rhythm and meter deliver within the operas, while the timbre of various instruments proposes the sensuality of the Orient — an accepted Western stereotype regarding the East. To identify certain rhythmic formulae of Indian inspiration and to understand the concept of tāla, several studies and works of Indian musicians and authors have been consulted, among these Sãrngadeva’s Sangītaratnākara, a thirteenth century treatise considered one of the most important Indian musicological texts. Whether invented or extracted directly from its original source, the article aims to identify composers’ rhythmic gestures. The blend of personal musical language with the Indian tinta reflected in rhythmic patterns create a romantic texture cognoscible to the discussed French exotic operas: David’s opéracomique Lalla-Roukh, Bizet’s Les Pecheurs de perles, Delibes’ Lakmé, Massenet’s five-act grand-opéra Le Roi du Lahore, and Roussel’s opéraballet Padmâvatî. [ABSTRACT FROM AUTHOR]

The Creation of the Universe is a theme that inspired artists and musicians throughout the ages. However, it was not only the idea of creation that aroused the interest of these artists, but also the existence of Chaos, which is believed to have preceded the act of creation. In the France of Louis XIV, arts and music were profoundly influenced by Classical Antiquity, as proven by the artworks of this era. Artists and composers sought to depict the creation of the Universe, often resorting to the theory of elements - however, this was subordinated to the ideas of the Catholic doctrine. An interesting musical representation of Chaos and the creation of the Universe belongs to Jean-Féry Rebel (1666-1747), who played an important part in the evolution of the French Baroque. In the simfonie nouvelle for orchestra Les Élements (1737-1738), the composer evokes the state of chaos that preceded the act of creation, using certain harmonic, melodic, and rhythmic constructions. The entire work reflects the aesthetic ideal of the French Baroque, that approaches art as harmonious imitation of nature. In Rebel's work the primordial elements gradually become distinct, each receives a clear musical and rhythmic profile, allowing them to be easily identified throughout the work. Rebel also associates these elements to certain dances, as can be observed in the musical numbers that follow the Chaos, the fluidity and grace of the music reflecting the balanced and refined dance movements of the period. Rebel's musical evocation points to future representations of this theme, at the same time containing several features that prove the composer's visionary musical imagination. [ABSTRACT FROM AUTHOR]

One of the most important figures of the 20th century, avantgarde composer, artist, writer, and theorist John Cage was deeply influenced by various philosophical orientations from South and East Asia, such as Hinduism, Buddhism, Taoism, Zen, and I-Ching. He studied various doctrines and the works of several Asian philosophers, which resulted in the reorientation of his philosophical and aesthetic ideas. At the same time, this influenced his musical style, the conception of his compositions, as well as his thoughts on the functions of art - discernible in his music. Cage identified himself with certain ideas he encountered in the philosophical texts he studied, but he refrained from describing himself as representative of any of these orientations. Unlike other Western composers inspired by oriental art and music, Cage was rather influenced by the philosophical dimension of Asia. He avoided the use of Asian music sources in his works and was not interested in using new sounds for the sake of creating a novel musical discourse but aimed to evoke or emphasize certain philosophical ideas through his composition. The aim of the present paper is to present the Asian philosophical influences that marked the figure of John Cage, his perspective on life and art, and influenced his rhetoric, as well as the ideas that he employed within his compositional process. [ABSTRACT FROM AUTHOR]

The present paper aims to investigate the manner in which the structure of a certain musical discourse can suggest the superiority of reason above senses, as well as the static or flowing quality of time. In this sense, François Couperin's (1668-1733) Leçons de ténèbres pour le mercredi saint (1714) was analyzed, striving to observe the manner in which the composer approaches certain parameters of the musical discourse (rhythm and metre, tempo, dynamics, ornaments) in order to suggest the meaning of the sacred text and to induce the listener a certain feeling of withdrawal, the absorption of the senses that can eventually lead to the mystical union with the Divine, accomplished through reason. The paper strives to highlight the differences between the Italian and French Baroque, as reflected in the work of Couperin, who strove to accomplish in his compositions the union between the French and Italian styles and forms. The question that arises is whether music is capable to express the passive state of devotion and contemplation, despite its unfolding in time, and whether it is possible to conceive the musical discourse in a manner that refrains from the anticipation of its future evolutions? [ABSTRACT FROM AUTHOR]

French composers Albert Roussel and Maurice Delage were strongly influenced by Classical Indian music, the evocation of this exotic world offering them the opportunity to devise innovative musical languages. The present paper strives to reveal the manner in which both Roussel and Delage employ in their works modal constructions, inspired by Indian ragas, vocal and instrumental timbres that can be associated by the Western listener with the sound of Indian music, at the same time incorporating in their works rhythmic patterns and sound effects specific for Indian music. The orientalism and exoticism in the works of these two composers reflect their desire to obtain a certain purity of the artistic expression, while the direct contact with the music of India and that of other regions in Asia, visited by Roussel and Delage, contributed in a great deal to their transcending of the philosophical, social, and even musical barriers and limitations, offering them the freedom to turn to new means of musical expression in their works. [ABSTRACT FROM AUTHOR]

The present paper strives to evoke the context in which one of Jules Massenet's last operas, "Cléopâtre" was created: the Belle Époque period with its various stylistic orientations. Among the numerous art movements of the fin de siècle, Art Nouveau establishes itself as one of the most important styles, gradually becoming an international style often associated with the Belle Époque. Characterized by curving forms and undulating lines, Art Nouveau was used in architecture, fine and applied arts. One of the aims of this style was to dissolve the distinction between the various forms of art. Art Nouveau representations gave birth to a particular feminine type, also represented in Massenetțs "Cléopâtre", an opera inspired by the vocal and dramatic endowments of French singer Lucy Arbell. The analysis focuses on the vocal characterization of Cléopâtre as sonorous representation of the fin de siècle woman, highlighting some of the musical innovations employed by Massenet in this final work. [ABSTRACT FROM AUTHOR]

The present paper aims to reveal some of the features which characterize the Mélodies of the French composer Reynaldo Hahn. Although his work comprises several genres, instrumental and vocal alike, these refined and sensitive vocal miniatures are most often associated with Hahn's name. Composer, conductor and music critic, himself a singer, the fascinating personality and intelligence of the composer is reflected in his works. His Mélodies mirror Hahn's preoccupation regarding the relationship between poetry and music, between the spoken and the sung words. In the master's opinion, music should emphasize the deep, hidden meanings beyond the words, thus in his vocal miniatures he strives for a truthful evocation of that which remains unspeakable. [ABSTRACT FROM AUTHOR]

The present article aims to present the figure of a neglected French composer of Spanish origin, Francisco Salvador-Daniel whose works as scholar and composer are of great importance to the evolution of French Musical Orientalism. Alongside other French composers of the 19th century, among whom Félicien David, Ernest Reyer or Camille Saint- Saëns can be mentioned, Salvador-Daniel can be considered one of the initiators and contributors to the gradual development of a specific musical language. What sets Salvador- Daniel apart from his contemporaries, both composers and scholars, is his vast and direct experience with Arab music from different regions. He admires and celebrates cultural differences, aiming to discover the hidden connection between European and Arab music. Musical Orientalism is more pronounced in the compositions of Salvador-Daniel than in the works of David, for example, due to the composer's use of unusual harmonic constructions and sensual rhythmic patterns in an attempt to re-create a truthful and vivid sonorous image of the Orient. [ABSTRACT FROM AUTHOR]

Diversity and unity, dream and reality, the constant struggle between opposites - these are some of the ideas which mark the Baroque, as art period in the history of Western art, but as a perpetual concept as well. The present paper aims to reveal and explain the philosophical ideas which influenced the creation of Baroque artistic creations. The outer splendour is a mask which hides the deep torment of the artist, lavishness and opulence express the complexity of the human soul, torn between contradictions, a tension which can be perceived in Baroque music as well. The alto arias in the "Stabat Mater" of G. B. Pergolesi were chosen to explain, from a musical point of view, some of the philosophical concepts which define the Baroque. [ABSTRACT FROM AUTHOR]

The present paper aims to reveal the essential features of 19th century French opera, highlighting those aspects which contributed to the eventual crystallization of a dramatic work seeking to reflect the characteristics of French music and culture. The manner in which melody, harmony, rhythm, dynamics, tempo and timbres are used is analysed, focusing on two representative works of the French Romanticism: Saint-Saëns' Samson et Dalila and Bizet's Carmen. Harmonic innovations, floating melodies, strong rhythmic patterns along with the marked influence of folklore and Oriental culture contribute to the distinguishing of 19th century French opera. Finally, attributes of the French singing school and the role of the mezzo-soprano voice in the compositions of the 19th century French operas are revealed. [ABSTRACT FROM AUTHOR]

The aim of this paper is to present the outstanding figure of the French composer Ernest Reyer. Despite the fact that his works did not receive proper attention, nonetheless his contribution to the evolution of 19th century French music is important. An ardent admirer of Hector Berlioz and Richard Wagner, the music of Reyer distinguishes itself due to the sincerity with which the composer strives to musically represent the true meaning behind words, ideas, emotions. Although unjustly criticized for imitating Félicien David's "Le Désert" in his symphony "Le Sélam", the oriental colouring of Reyer's works was influenced by his prolonged sojourn in Algeria, where his spirit could immerse in the subtle and exotic atmosphere of the Orient. Composer and music critic, through his compositions as well as through his written works Reyer strived to elevate art and raise the quality of the musical compositions of his time, especially those belonging to the genre of opera. Even though he had to wait for his talent to be acknowledged, Reyer was forbearing and chose not to make any compromises with respect to his musical works, staying true to his high and noble ideals. The evolution of the composer from "Le Sélam" to his last opera "Salammbô" is presented, with the purpose of unveiling a vivid portait of Reyer. [ABSTRACT FROM AUTHOR]

The aim of this paper is to present the historical, cultural, aesthetic and musical circumstances that led to the gradual unfolding of the reform process of the opera as an art form. The state in which music drama found itself at the beginning of the 18th century contributed to the formulation of essential principles that could guide the composition of a music drama, a work of art which had to transmit true feelings and emotions. The philosophical ideas expressed by the intellectuals of the Enlightenment are echoed in the musical works of Ch. W. von Gluck and mirrored in Orfeo ed Euridice, the unfolding of the reform of opera and the first of Gluck's works in which the composer strives to place the words before the music, relinquishing the old compositional methods. [ABSTRACT FROM AUTHOR]

This paper argues about one of the features which distinguish 19th century Romantic art: exoticism. Unknown cultures, distant places, different peoples, all these were considered exotic and fascinated the European public. The Orient was perceived as an exotic world, the study of its cultures became widespread, works of art representing the East were created - this approach to the East is one of the meanings of the term Orientalism. The magic of the East captured the artists, writers and musician, among them Felicien David, the French composer who, after travelling to the Orient and spending two years in Egypt would return to France with the sound of the desert imprinted in his soul and merge the music of the East with the traditional European compositional techniques, creating a new language to express exoticism through music, his masterpiece: „Le Desert". [ABSTRACT FROM AUTHOR]