See also:

• JEAN

JEAN PHILIPPE See also:

• JEAN PHILIPPE RAMEAU (1683-1764)

RAMEAU (1683-1764)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French musical theorist and composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• DIJON

Dijon on the 23rd of See also:

• OCTOBER

October 1683 . His musical See also:

• EDUCATION

education, partly in consequence of his See also:

• FATHER

father's See also:

• DESIRE

desire that he should study See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law, still more through his own wayward disposition, was of a desultory See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . In 1701 his father sent him to See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan to break off a foolish love-match . But he learned little in See also:

• ITALY
• ITALY (Italia)

Italy, and soon returned, in See also:

• COMPANY

company with a wandering theatrical manager, for whom he played the second See also:

• VIOLIN

violin . He next settled in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, where he published his Premier livre de pieces de See also:

• CLAVECIN

clavecin, in 1706 . In 1717 he made an See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to obtain the See also:

• APPOINTMENT, POWER OF

appointment of organist at the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of St See also:

• PAUL
• PAUL (PAULUS)

Paul . Deeply annoyed at his unexpected failure, he retired for a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to See also:

• LILLE

Lille, whence, however, he soon removed to Clermont-See also:

• FERRAND, ANTOINE FRANCOIS CLAUDE, COMTE

Ferrand . Here he succeeded his See also:

• BROTHER

brother See also:

• CLAUDE, JEAN (1619-1687)

Claude as organist at the See also:

• CATHEDRAL

cathedral . Burning with desire to remedy the imperfections of his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early education, See also:

• RAMEAU, JEAN PHILIPPE (1683-1764)

Rameau diligently studied the writings of See also:

• ZARLINO, GIOSEFFO (1517-1590)

Zarlino, See also:

• DESCARTES, RENE (1596-1650)

Descartes, Messenne, F . See also:

• KIRCHER, ATHANASIUS (r6oi-168o)

Kircher and other theorists . He not only mastered their views but succeeded in demonstrating their weak points and substituting for them a See also:

• SYSTEM

system of his own . His keen insight into the constitution of certain chords, which in early See also:

• LIFE

life he had studied only by See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear, enabled him to propound a See also:

• SERIES (a Latin word from serere, to join)

series of hypotheses, many of which are now accepted as established facts .

While the older contrapuntists were perfectly satisfied with the See also:

• LAWS

laws which regulated the melodious involutions of their vocal and instrumental parts, Rameau demonstrated the possibility of See also:

• BUILDING

building up a natural See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony upon a fundamental See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass, and of using that harmony as an authority for the enactment of whatever laws might be considered necessary for the guidance either of the contrapuntist or the less ambitious See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general composer . And in this he first explained the distinction between two styles, which have been called the " See also:

• HORIZONTAL

horizontal and See also:

• VERTICAL (from Lat. vertex, highest point)

vertical systems," the " horizontal system " being that by which the older contrapuntists regulated the onward See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion of their several parts, and the " vertical system " that which constructs an entire passage out of a single harmony . From fundamental harmonies he passed to inverted chords, to which he was the first to See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention; and the value of this See also:

• DISCOVERY

discovery fully compensates for his erroneous theory concerning the chords of the See also:

• ELEVENTH

eleventh and the See also:

• GREAT

great (Angl . " added ") See also:

• SIXTH

sixth (see HARMONY) . Rameau first set forth his new theory in his Traite de l'harmonie (Paris, 1722), and followed it up in his Nouveau systeme (1726), See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

Generation harmonique (1737), Demonstration (1750) and Nouvelles reflexions (1752) . But it was not only as a theorist that he became famous . Returning to Paris in 1722 he first attracted attention by composing some See also:

• LIGHT

light dramatic pieces, and then showed his real See also:

• POWERS, HIRAM (1805-1873)

powers in his See also:

• OPERA (Italian for " work ")

opera, Hippolyte et Aricie, founded on See also:

• RACINE
• RACINE, JEAN (1639-1699)
• RACINE, LOUIS (1692-1763)

Racine's Phedre and produced at the Academie in 1733 . Though this See also:

• WORK

work was violently opposed by the admirers of Lulli, whose party spirit eventually stirred up the famous " guerre See also:

• DES

des bouffons," Rameau's See also:

• GENIUS (from Lat. genere, gignere)

genius was too brilliant to be trampled under See also:

• FOOT

foot by an ephemeral See also:

• FACTION (through the French, from Lat. factio, a company of persons combined for action, facere, to do; from the other French derivative facon comes " fashion ")

faction and his ultimate See also:

• TRIUMPH (triumphus)

triumph was assured . He afterwards produced more than twenty operas, the most successful of which were See also:

• DARDANUS

Dardanus . See also:

• CASTOR

Castor et See also:

• POLLUX, JULIUS
• POLLUX, or POLLUCITE

Pollux, See also:

• LES

Les Indes galantes and La princesse de See also:

• NAVARRE (Span. Navarra)

Navarre Honours were showered upon him . He was appointed See also:

• CON

con. ductor at the Opera Comique, and the See also:

• DIRECTORS

directors of the opera granted him a See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension . See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis XV. appointed him composer to the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court in 1745, and in 1764 honoured him with a patent of See also:

• NOBILITY

nobility and the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of St See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael .

But these last privileges were granted only on the See also:

• EVE

eve of his See also:

• DEATH

death at Paris on the 12th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1764 . See See also:

• BIOGRAPHIES

biographies in See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Poisset (1864), See also:

• NISARD, JEAN MARIE NAPOLEON DESIRE (18o6-1888)

Nisard (1867), Pougin (1876) .