본 논문은 프랑스의 오페라 코미크가 급변하는 18세기 프랑스의 정치 · 사회 · 문화적 배경 속에서 독자적인 양식을 확립하며 국민 오페라로 발전해간 과정을 체계적으로 연구한다. 이 과정에서 필연적으로 부퐁논쟁을 포함하여 총 네차례에 걸친 프랑스의 오페라 논쟁의 쟁점을 시대적 상황 속에서 자세히 고찰한다. 또한 오페라 코미크의 발전 시기별로 주요 오페라 코미크 작곡가들과 대본가들, 그리고 그들의 작품을 통해서 오페라 코미크 양식의 발전과정이 어떻게 구현되었는지를 작품 속에서 분석적으로 연구한다. 특히 루소를 비롯한 오페라 코미크의 ...
본 논문은 프랑스의 오페라 코미크가 급변하는 18세기 프랑스의 정치 · 사회 · 문화적 배경 속에서 독자적인 양식을 확립하며 국민 오페라로 발전해간 과정을 체계적으로 연구한다. 이 과정에서 필연적으로 부퐁논쟁을 포함하여 총 네차례에 걸친 프랑스의 오페라 논쟁의 쟁점을 시대적 상황 속에서 자세히 고찰한다. 또한 오페라 코미크의 발전 시기별로 주요 오페라 코미크 작곡가들과 대본가들, 그리고 그들의 작품을 통해서 오페라 코미크 양식의 발전과정이 어떻게 구현되었는지를 작품 속에서 분석적으로 연구한다. 특히 루소를 비롯한 오페라 코미크의 주요 작곡가, 대본가 및 작품 연구를 통해, 작품 속에서 오페라 코미크 양식의 발전과정을 고찰하는 기회를 제공한다.
본 논문은 프랑스의 오페라 코미크가 급변하는 18세기 프랑스의 정치 · 사회 · 문화적 배경 속에서 독자적인 양식을 확립하며 국민 오페라로 발전해간 과정을 체계적으로 연구한다. 이 과정에서 필연적으로 부퐁논쟁을 포함하여 총 네차례에 걸친 프랑스의 오페라 논쟁의 쟁점을 시대적 상황 속에서 자세히 고찰한다. 또한 오페라 코미크의 발전 시기별로 주요 오페라 코미크 작곡가들과 대본가들, 그리고 그들의 작품을 통해서 오페라 코미크 양식의 발전과정이 어떻게 구현되었는지를 작품 속에서 분석적으로 연구한다. 특히 루소를 비롯한 오페라 코미크의 주요 작곡가, 대본가 및 작품 연구를 통해, 작품 속에서 오페라 코미크 양식의 발전과정을 고찰하는 기회를 제공한다.
France went through turbulent political, social and cultural changes in the 18th century. The power of absolute monarch Loui XIV got weakened and the Enlightenment movement spread into European countries, bringing the growth of bourgeoisie class with improved citizenship. And finally, French revolut...
France went through turbulent political, social and cultural changes in the 18th century. The power of absolute monarch Loui XIV got weakened and the Enlightenment movement spread into European countries, bringing the growth of bourgeoisie class with improved citizenship. And finally, French revolution occurred at the end of the 18th century. All those changes in French society in the 18th century left very clear and important footprints in French opera history and they gave birth to new opera genres which characterized French opera style and opera history. Opera was the invention of Italians. Early Italian opera was brought to France at the early 17th century from Italy. While Italian opera developed into a new style preferring feeling, melody and vocal elegance to dramatic expression, French opera hold fast to original style of opera and developed different characteristics with Italian opera. We can observe the political, social, aesthetical and cultural circumstances of 18th century France through the famous four opera debates on Italian opera style vs French opera style, which lasted almost the whole 18th century. Jean-Jacques Rousseau played an important role in the changes of not only political and philosophical ideology, but in the changes of musical thought. As an Enlightenment philosopher and writer, Rousseau wrote important books contributing dissemination of Enlightenment thoughts, providing the ideological foundation of French Revolution. As a composer, Rousseau anticipated by several decades the aesthetics of Romanticism. As the debates expanded participants from each sides and heat over the debates went up, the previously flourished French court opera - tragédie-lyrique- declined gradually and a new genre- opéra comique- became to flourish. Opéra-comique originally started from 'Comedie en Vaudeville' in Parisian Fair Theatres, but it evolved over time under the 18th century social environment. Big momentum was made when Rousseau, who himself was at the center of the debate, composed an monumental opera in 1752. In this work, Rousseau succeeded in furnishing recitatives to the natural rhythm of the French language instead of spoken dialogue. Its contributed to convert opéra-comique from play with songs adapted from already existing music, into a genuine musical genre capable of interesting professional composers instead of musically minded theatrical hacks. Opéra-comique treated diverse social subjects and experimented different musical styles, and attracted the interest of both citizens and the novelty. The prominent librettists like Michel-Jean Sedaine, Monsigny Pierre-Alex-Andre, Jean-François Marmontel dealt with such subjects as sentimentalism, moral obligation, bourgeoisie viewpoint, criticism on upper class and interest in history, out of matured political and social consciousness of the day. And the composers like Duni Egidio Romoaldo, Fançois-André Danican Philidor, Monsigny Pierre-Alex- Andre, André Ernest Modeste Grétry all successfully cooperated with their librettists for that purpose. Opéra-comique, familiar with citizens, was attractive companion to Revolution government. The libretti reflected the spirit of the Revolution - liberty, equality, fraternity - and distinguished composers, like Nicolas Dalayrac, Stanilas Champein, Luigi Cherubini, Jean François Le Sueur and Etienne-Nicolas Mehul, realized the Revolution ideas musically. Though the works during Revolution short lived, opéra-comique became the representative national opera style through the dramatic turbulence of the 18th century France.
France went through turbulent political, social and cultural changes in the 18th century. The power of absolute monarch Loui XIV got weakened and the Enlightenment movement spread into European countries, bringing the growth of bourgeoisie class with improved citizenship. And finally, French revolution occurred at the end of the 18th century. All those changes in French society in the 18th century left very clear and important footprints in French opera history and they gave birth to new opera genres which characterized French opera style and opera history. Opera was the invention of Italians. Early Italian opera was brought to France at the early 17th century from Italy. While Italian opera developed into a new style preferring feeling, melody and vocal elegance to dramatic expression, French opera hold fast to original style of opera and developed different characteristics with Italian opera. We can observe the political, social, aesthetical and cultural circumstances of 18th century France through the famous four opera debates on Italian opera style vs French opera style, which lasted almost the whole 18th century. Jean-Jacques Rousseau played an important role in the changes of not only political and philosophical ideology, but in the changes of musical thought. As an Enlightenment philosopher and writer, Rousseau wrote important books contributing dissemination of Enlightenment thoughts, providing the ideological foundation of French Revolution. As a composer, Rousseau anticipated by several decades the aesthetics of Romanticism. As the debates expanded participants from each sides and heat over the debates went up, the previously flourished French court opera - tragédie-lyrique- declined gradually and a new genre- opéra comique- became to flourish. Opéra-comique originally started from 'Comedie en Vaudeville' in Parisian Fair Theatres, but it evolved over time under the 18th century social environment. Big momentum was made when Rousseau, who himself was at the center of the debate, composed an monumental opera in 1752. In this work, Rousseau succeeded in furnishing recitatives to the natural rhythm of the French language instead of spoken dialogue. Its contributed to convert opéra-comique from play with songs adapted from already existing music, into a genuine musical genre capable of interesting professional composers instead of musically minded theatrical hacks. Opéra-comique treated diverse social subjects and experimented different musical styles, and attracted the interest of both citizens and the novelty. The prominent librettists like Michel-Jean Sedaine, Monsigny Pierre-Alex-Andre, Jean-François Marmontel dealt with such subjects as sentimentalism, moral obligation, bourgeoisie viewpoint, criticism on upper class and interest in history, out of matured political and social consciousness of the day. And the composers like Duni Egidio Romoaldo, Fançois-André Danican Philidor, Monsigny Pierre-Alex- Andre, André Ernest Modeste Grétry all successfully cooperated with their librettists for that purpose. Opéra-comique, familiar with citizens, was attractive companion to Revolution government. The libretti reflected the spirit of the Revolution - liberty, equality, fraternity - and distinguished composers, like Nicolas Dalayrac, Stanilas Champein, Luigi Cherubini, Jean François Le Sueur and Etienne-Nicolas Mehul, realized the Revolution ideas musically. Though the works during Revolution short lived, opéra-comique became the representative national opera style through the dramatic turbulence of the 18th century France.
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