UZH-Logo

Maintenance Infos

Musik als leidenschaftlicher Augenblick. Jean-Jacques Rousseau, das ‚Ballet en action‘ und die Ästhetik des frühen Melodramas


Rentsch, I (2009). Musik als leidenschaftlicher Augenblick. Jean-Jacques Rousseau, das ‚Ballet en action‘ und die Ästhetik des frühen Melodramas. Archiv für Musikwissenschaft, 66(2):93-109.

Abstract

By the time Jean-Georges Noverre made history with his Lettres sur la danse et sur les ballets, the idea of dramatic ballet was already in the air. In contrast to the earlier ballet de cour, arias and recitatives were now no longer integrated, thus, the narrative, textless action required a new chronicler. By replacing the written poem, music not only filled in this gap as the link between dramatic thought and danced expression but was responsible for ensuring overall formal coherence. Noverre’s dancers were meant to give meaning to the musically rooted ideas through their “lively and animated physiognomy.” It is this division of labor that distinguishes the ballet d’action from the staged melodrama, which was developed at roughly the same time. Since eighteenth-century melodrama depended on the word to transmit meaning, music was free to concentrate on “breathing life” into the action, a function broadly reserved for dance in ballet en action. Nonetheless, the common aesthetic roots of ballet en action and the melodrama led to similar solutions for central questions pertaining to the relationship between art and nature, between the combinations of the various art forms, as well as to the difficulty of maintaining continuity over an extended period of time.

By the time Jean-Georges Noverre made history with his Lettres sur la danse et sur les ballets, the idea of dramatic ballet was already in the air. In contrast to the earlier ballet de cour, arias and recitatives were now no longer integrated, thus, the narrative, textless action required a new chronicler. By replacing the written poem, music not only filled in this gap as the link between dramatic thought and danced expression but was responsible for ensuring overall formal coherence. Noverre’s dancers were meant to give meaning to the musically rooted ideas through their “lively and animated physiognomy.” It is this division of labor that distinguishes the ballet d’action from the staged melodrama, which was developed at roughly the same time. Since eighteenth-century melodrama depended on the word to transmit meaning, music was free to concentrate on “breathing life” into the action, a function broadly reserved for dance in ballet en action. Nonetheless, the common aesthetic roots of ballet en action and the melodrama led to similar solutions for central questions pertaining to the relationship between art and nature, between the combinations of the various art forms, as well as to the difficulty of maintaining continuity over an extended period of time.

Additional indexing

Item Type:Journal Article, refereed, original work
Communities & Collections:06 Faculty of Arts > Institute of Musicology
Dewey Decimal Classification:780 Music
Language:German
Date:2009
Deposited On:30 Sep 2009 08:31
Last Modified:05 Apr 2016 13:21
Publisher:Franz Steiner Verlag
ISSN:0003-9292

Download

Full text not available from this repository.

TrendTerms

TrendTerms displays relevant terms of the abstract of this publication and related documents on a map. The terms and their relations were extracted from ZORA using word statistics. Their timelines are taken from ZORA as well. The bubble size of a term is proportional to the number of documents where the term occurs. Red, orange, yellow and green colors are used for terms that occur in the current document; red indicates high interlinkedness of a term with other terms, orange, yellow and green decreasing interlinkedness. Blue is used for terms that have a relation with the terms in this document, but occur in other documents.
You can navigate and zoom the map. Mouse-hovering a term displays its timeline, clicking it yields the associated documents.

Author Collaborations