Jean-Baptiste Lully
Location
Access Type
Campus Access Only
Entry Number
22
Start Date
4-7-2021 10:30 AM
End Date
4-7-2021 10:45 AM
Department
Music
Abstract
Jean-Baptiste Lully although originally born in Italy found himself situated right next to the King of France. One can discern that although Lully is labelled as the father of French Opera; Lully’s compositional style is the direct result of his friendship to King Louis XIV. With the intent of improving music pedagogy and performance, the purpose of this research is to understand the adaptation of French Baroque Opera through the life of Jean-Baptiste Lully. The specific problems of this study were to outline Jean-Baptiste's Life, discuss Lully’s compositional style; and analyze Armide (1686) Overture.
Through Lully’s service to Grande Mademoiselle, Lully was able to socially climb in music and ballet and find himself a close acquaintance of King Louis XIV until right before his death. In this friendship Lully gained hegemony over the music in France and was able to create Tragedie Lyrique and various other advancements such as divertissements, recitative, and the minuet. Armide (1686), one of Lully’s last operas, is an example of Lully’s style he accumulated through his friendship with King Louis XIV. It was due to Lully’s companionship with King Louis XIV and gained the resources to develop French Opera.
Faculty Mentor(s)
Dr. Cythinia Ramsey
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Jean-Baptiste Lully
Jean-Baptiste Lully although originally born in Italy found himself situated right next to the King of France. One can discern that although Lully is labelled as the father of French Opera; Lully’s compositional style is the direct result of his friendship to King Louis XIV. With the intent of improving music pedagogy and performance, the purpose of this research is to understand the adaptation of French Baroque Opera through the life of Jean-Baptiste Lully. The specific problems of this study were to outline Jean-Baptiste's Life, discuss Lully’s compositional style; and analyze Armide (1686) Overture.
Through Lully’s service to Grande Mademoiselle, Lully was able to socially climb in music and ballet and find himself a close acquaintance of King Louis XIV until right before his death. In this friendship Lully gained hegemony over the music in France and was able to create Tragedie Lyrique and various other advancements such as divertissements, recitative, and the minuet. Armide (1686), one of Lully’s last operas, is an example of Lully’s style he accumulated through his friendship with King Louis XIV. It was due to Lully’s companionship with King Louis XIV and gained the resources to develop French Opera.