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Pygmalion is the most influential dramatic work by Jean-Jacques Rousseau, other than his opera Le devin du village.Though now rarely performed, it was one of the first ever melodramas (that is, a play consisting of pantomime gestures and the spoken word, both with a musical accompaniment).
Cantatas were Rameau's first contact with dramatic music. The modest forces the cantata required meant it was a genre within the reach of a composer who was still unknown. Musicologists can only guess at the dates of Rameau's six surviving cantatas, and the names of the librettists are unknown.
The lyrics express the singer's desire for a woman who he fears may not be only interested in him. [2] The refrain consists of the single line "No words for my love." [2] Music author Vincent Benitez interprets the song's ending on a dominant key rather than the tonic as reflecting the singer's uncertain situation. [2]
Drexel 3976, also known as The Rare Theatrical (based on an inscription from a former owner), is a 17th-century music manuscript compilation of works by the composer Matthew Locke, considered by some to be "the father of all Restoration dramatic music."
Solo singing with instrumental accompaniment, or monody, acquired greater significance towards the end of the 16th century, replacing polyphony as the principal means of dramatic music expression. [61] This was the changing world in which Monteverdi was active.
Alessandro Striggio (c. 1536/1537 – 29 February 1592) was an Italian composer, instrumentalist and diplomat of the Renaissance.He composed numerous madrigals as well as dramatic music, and by combining the two, became the inventor of madrigal comedy.
The work has been described as the height of his accomplishments in the realm of dramatic music. [1] The work was written between 1844 and 1853 and is scored for SATB chorus, boys' chorus, orchestra, and a number of solo parts which, even with doubling, require seven solo singers, although eight (three sopranos, two mezzos, one tenor, one ...
[Méhul] was fully convinced that in truly dramatic music, when the importance of the situation deserves the sacrifice, the composer should not hesitate as between a pretty musical effect that is foreign to the scenic or dramatic character, and a series of accents that are true but do not yield any surface pleasure.