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Title
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Seven mascarades for the court of Louis XIV by Anne, Pierre, and Andre Danican Philidor.
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Identifier
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AAI3476770
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identifier
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3476770
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Creator
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Owens, Margaret Brown.
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Contributor
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Advisers: Dennis Slavin | Janette Tilley
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Date
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2010
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music | Dance
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Abstract
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This dissertation examines seven mascarades performed at Louis XIV's chateau at Marly during the Carnival season of 1700. These mascarades, housed at the Jean Gray Hargrove Music Library at the University of California at Berkeley as MS 455, are exceptional in that full cast and instrumentation lists, scores, and livrets are all extant. The mascarades, written by Andre Danican Philidor (c.1647-1730), Anne Danican Philidor (1681-1728), and Pierre Danican Philidor (1681-1731), center on exotic topics including Amazons, a Chinese king, peasants, dancing chess pieces, and a merchant vessel carrying wild animals and people from far-off lands. I examine the instrumentation, performance practice, and context of the works, and discuss the mascarade as a genre. I discuss their composers and performers and show how they may have influenced issues such as narrative style and choreography. I then present detailed analyses of each work and consider issues that would affect a modern reconstruction of the pieces. The dissertation includes a facsimile of the scores and livrets..;The works, La Mascarade du Roi de la Chine, (by Andre Danican Philidor, performed January 7 and 8), La Mascarade des Amazones, (Anne Danican Philidor, January 21), La Mascarade des Savoyards, (Andre Danican Philidor, January 22), La Mascarade de la Noce de Village, (Andre Danican Philidor, February 4), La Mascarade du Lendemain de la Noce de Village, (Anne Danican Philidor, February 5), La Mascarade du Vaisseau Marchand, (Andre Danican Philidor, February 18), and La Mascarade du Jeu d'Echecs, (Pierre Danican Philidor, February 19), feature colorful instrumentation, including trumpet marine, Basque drums, hurdy-gurdy, basse de cromorne, bassoon, and the newly-developed Baroque oboe. Together the pieces present an opportunity to examine a little-known performance tradition, that of the double-reed consort as orchestra, accompanying singers and dancers. Because the music is in the style of Lully, it reveals both the conception that contemporary composers had for the double-reed consort and gives a new perspective on the operatic style of the late seventeenth and early eighteenth centuries.
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Type
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dissertation
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Source
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PQT Legacy Restricted.xlsx
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degree
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D.M.A.