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The libretto for BOREADES is an exquisite piece of poetry; Les Indes Galantes as well;
Who is the judge of what is poor poetry? Please put in some sources. —Preceding unsigned comment added by 81.223.205.132 ( talk) 02:45, 29 October 2008 (UTC)
This message is in response to the deletion of content from the article:
This discussion thread was started by User:Dreftymac to give User:Folantin an opportunity to explain the rationale for deletion. The deletion is contested as inappropriate for the following reasons:
Consequently, the contribution has been re-added to the article by reverting the deletion. Before taking further adverse action on this contribution, please provide support here in discussion so we can work together to improve any deficiencies. Thanks! dr.ef.tymac 23:28, 2 February 2007 (UTC)
The contrast between Bach and Rameau in your material was - as far as I can see - entirely Tennenbaum's idea. If we want to get specific, the following is a big claim and needs proper sourcing: "The tension between the evocative style and aesthetics of Bach on one hand, and the methodologies and analytic reductionism of Rameau on the other, constituted a major rift in the development of music theory and composition, and represented a primary schism in two prevailing and antagonistic schools of thought". The question of Tennenbaum's authority is hardly irrelevant. Why exactly should we credit his opinions as opposed to those of established musicologists? He's perfectly entitled to his own theories, of course, but that doesn't mean they should be included in an encyclopaedia. I can't see how this page will be improved by adding such information. I was not responsible for any of the content of this article before today, except for some of the works list. I have begun to improve it by adding properly sourced material from reliable sources. -- Folantin 20:38, 3 February 2007 (UTC)
The statements about Rameau's 'enemies' are extremely vague and sweeping. They seem to imply, first that anyone who didn't agree with him about music theory was his enemy; second, that anyone who disagreed with him about music theory exaggerated his character flaws. Neither claim is supported in any way - nor could it be, given the very large number of 18th century writers and musicians who disagreed with Rameau's theoretical views. -- Tdent 20:47, 27 October 2007 (UTC)
A claim is made in this article to the effect that Rameau's harpsichord works are not idiomatic to the harpsichord (literally, not as idiomatic as Couperin's) and that they sound better on piano. This should sound spurious immediately. Material paraphrased; contested claims in italics. I have marked the statement in question here. -- ♦♦♦Vlmastra♦♦♦ ( talk) 17:25, 18 May 2008 (UTC)
Insofar as the article deals with fairly precise developments in musical history, the lack of technical details is disappointing. Specifically, what elements in Rameau's music, outside of the purely stylistic cast of genres and forms, excited the admiration/hostility of his contemporaries? Any innovation/experimentation of a harmonic and melodic character should be described, or at least limned out, with reference to the ongoing history of dissonance and tonality in Western music. Orthotox ( talk) 09:28, 23 December 2012 (UTC)
Like most of his contemporaries, Rameau often reused melodies that had been particularly successful, but never without meticulously adapting them; they are not simple transcriptions. Besides, no borrowings have been found from other composers, although his earliest works show the influence of other music.
Why begin the second sentence with "besides"? Would Rameau have been less of a composer if he had borrowed the occasional melody? What is this paragraph trying to say?
Hello. I'm a professional harpsichordist -- First Prize from the Paris Conservatory and International Prize in 1977. I recently recorded Rameau's Musette and Tambourin (from the Suite in E) for pleasure (license CC by-sa), and would like to add them to the Rameau article. I think these would be a good addition to the site; can someone advise me how to proceed? FYI: the files are here and here on Commons. Richard D Siegel ( talk) 18:25, 20 December 2018 (UTC)
![]() | This ![]() It is of interest to the following WikiProjects: | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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The libretto for BOREADES is an exquisite piece of poetry; Les Indes Galantes as well;
Who is the judge of what is poor poetry? Please put in some sources. —Preceding unsigned comment added by 81.223.205.132 ( talk) 02:45, 29 October 2008 (UTC)
This message is in response to the deletion of content from the article:
This discussion thread was started by User:Dreftymac to give User:Folantin an opportunity to explain the rationale for deletion. The deletion is contested as inappropriate for the following reasons:
Consequently, the contribution has been re-added to the article by reverting the deletion. Before taking further adverse action on this contribution, please provide support here in discussion so we can work together to improve any deficiencies. Thanks! dr.ef.tymac 23:28, 2 February 2007 (UTC)
The contrast between Bach and Rameau in your material was - as far as I can see - entirely Tennenbaum's idea. If we want to get specific, the following is a big claim and needs proper sourcing: "The tension between the evocative style and aesthetics of Bach on one hand, and the methodologies and analytic reductionism of Rameau on the other, constituted a major rift in the development of music theory and composition, and represented a primary schism in two prevailing and antagonistic schools of thought". The question of Tennenbaum's authority is hardly irrelevant. Why exactly should we credit his opinions as opposed to those of established musicologists? He's perfectly entitled to his own theories, of course, but that doesn't mean they should be included in an encyclopaedia. I can't see how this page will be improved by adding such information. I was not responsible for any of the content of this article before today, except for some of the works list. I have begun to improve it by adding properly sourced material from reliable sources. -- Folantin 20:38, 3 February 2007 (UTC)
The statements about Rameau's 'enemies' are extremely vague and sweeping. They seem to imply, first that anyone who didn't agree with him about music theory was his enemy; second, that anyone who disagreed with him about music theory exaggerated his character flaws. Neither claim is supported in any way - nor could it be, given the very large number of 18th century writers and musicians who disagreed with Rameau's theoretical views. -- Tdent 20:47, 27 October 2007 (UTC)
A claim is made in this article to the effect that Rameau's harpsichord works are not idiomatic to the harpsichord (literally, not as idiomatic as Couperin's) and that they sound better on piano. This should sound spurious immediately. Material paraphrased; contested claims in italics. I have marked the statement in question here. -- ♦♦♦Vlmastra♦♦♦ ( talk) 17:25, 18 May 2008 (UTC)
Insofar as the article deals with fairly precise developments in musical history, the lack of technical details is disappointing. Specifically, what elements in Rameau's music, outside of the purely stylistic cast of genres and forms, excited the admiration/hostility of his contemporaries? Any innovation/experimentation of a harmonic and melodic character should be described, or at least limned out, with reference to the ongoing history of dissonance and tonality in Western music. Orthotox ( talk) 09:28, 23 December 2012 (UTC)
Like most of his contemporaries, Rameau often reused melodies that had been particularly successful, but never without meticulously adapting them; they are not simple transcriptions. Besides, no borrowings have been found from other composers, although his earliest works show the influence of other music.
Why begin the second sentence with "besides"? Would Rameau have been less of a composer if he had borrowed the occasional melody? What is this paragraph trying to say?
Hello. I'm a professional harpsichordist -- First Prize from the Paris Conservatory and International Prize in 1977. I recently recorded Rameau's Musette and Tambourin (from the Suite in E) for pleasure (license CC by-sa), and would like to add them to the Rameau article. I think these would be a good addition to the site; can someone advise me how to proceed? FYI: the files are here and here on Commons. Richard D Siegel ( talk) 18:25, 20 December 2018 (UTC)