"Prompted by controversial views of the composer-theorist Jean-Philippe Rameau, the leading figures of the French Enlightenment engaged in a vigorous philosophical debate about the nature of music. Their dialogue was one of extraordinary depth and richness, and dealth with some of the most fundamental issues of the French Enlightenment. In the newly revised edition of 'Music and the French Enlightenment', Cynthia Verba updates this fascinating story with the prolific scholarship that has emerged since the book was first published." -- rear cover.

This study analyses reflections on music and considers ways in which it facilitates links between language and meaning.

Around the middle of the eighteenth century the leading figures of the French Enlightenment engaged in a philosophical debate about the nature of music. The principal participants - Rousseau, Diderot, and d'Alembert - were responding to the views of the composer-theorist Jean-Philippe Rameau, who was both a participant and increasingly a subject of controversy. The discussion centred upon three different events occurring roughly simultaneously. The first was Rameau's formulation of the principle of the fundamental bass - a principle which explained the structure of chords and their progression. The second was the writing of the Encyclopedie, edited by Diderot and d'Alembert with articles on music by Rousseau. The third was the 'Querelle des Bouffons', over the relative merits of Italian comic opera and French tragic opera. The philosophes, in the typical manner of Enlightenment thinkers, were able to move freely from the broad issues of philosophy and criticism, to the more technical questions of music theory, considering music as both art and science. Their dialogue was one of extraordinary depth and richness and dealt with some of the most fundamental issues of the French Enlightenment. This book traces the development of the ideas discussed and reveals the vigour with which they were debated. It reconstructs the link between music theory and criticism that has been lost over time. It also presents extensive passages from the debate in English translation for the first time. In explaining fully the various aesthetic, philosophical, scientific, as well as musical issues involved, it will be of relevance to Enlightenment scholars of many disciplines.

"Ranging widely over the musical and intellectual thought of the eighteenth century, Thomas Christensen orients Rameau's accomplishments in the light of contemporaneous traditions of music theory as well as many of the scientific ideas current in the French Enlightenment. Rameau is revealed to be an unsuspectedly syncretic and sophisticated thinker, betraying influences ranging from neoplatonic thought and Cartesian mechanistic metaphysics to Locke's empirical psychology and Newtonian experimental science. Additional primary documents and manuscripts (many revealed here for the first time) help clarify Rameau's fascinating and stormy relationship with the Encyclopedists: Diderot, Rousseau, and d'Alembert." "This book will be of value to all music theorists concerned with the foundations of harmonic tonality and it should also be of interest to scholars of eighteenth-century science, the Enlightenment, and the general history of ideas."--BOOK JACKET.

This is the first book to focus exclusively on French music history from the late eighteenth century to the early nineteenth century. Painting a full picture of the musical works and genres in vogue at the time - from revolutionary hymns and operas to sacred, symphonic, and instrumental music - the author aims to fill the gap in music history that separates the Age of Enlightenment from romanticism in France. He describes the history of the institutions that supported the growing feverish musical activity, including the musical theaters of Paris, the Conservatoire, the Tuileries Chapel, and various concert societies. Against the background of French criticism of contemporary German music, namely that of Mozart and Beethoven, he evokes the great esthetic debates of the time. His conclusion?

How did composers and performers use the lost art of pantomime to explore and promote the Enlightenment ideals of free expression?