Jean-Philippe Rameau (1683〜1764) is one of the greatest composers in France. His fame, however, seems to have been established in 19th-century France. This article discusses mainly the claveciniste Rameau and his acceptance in 19th-century France.

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This paper focuses on the texts on hearing in “Cours sur la perception” included in Jules Lagneau’s Célèbres leçons et fragments, and discusses active judgement of the spirit related to the function of hearing, confirming the characteristics of various elements constructing music. The texts on hearing are distinctive in that they include descriptions on art, or more specifically, music, while the texts on vision and touch describes extension in general. While Merleau-Ponty criticized Lagneau in Phénoménologie de la perception, focusing on Lagneau’s texts on vision, this paper dares to focus on those on hearing. The latter texts are undoubtedly one of the clearest manifestations of active (and therefore highly evaluated) function of the spirit that Lagneau emphasized throughout the argument on perception. But they might be considered as a device of Lagneau to introduce “émotion” as the third term into the cartesian dualism. Using Lagneau’s concepts of “modification” and “attente”(expectation / waiting), this paper points out that perception in his understanding is not unmediated, but something more complicated, mediated and reconstructed, which is supported, not without endeavors, by active judgment of the spirit.

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Dans cette etude, nous avons examine les oeuvres pour le clavecin de Rameau en mettant l'accent sur les deux aspects: la virtuosite d'interprete et le regard de spectateurs. D'abord, nous avons regarde la notion d' ≪honnete homme≫, qui s'appliquait a un personnage ideal du 17^<eme> et du debut du 18^<eme> siecle en France, personnage qui savait agir correctement avec les autres. Deuxiemement, nous avons tente de demontrer l'influence de la notion d' ≪honnete homme≫ dans l'art de toucher le clavecin elabore par Saint-Lambert et Frangois Couperin. Troisiemement, nous avons examine la notion specifique de Rameau concernant l'art de toucher le clavecin et finalement, nous avons analyse ses oeuvre du clavecin et ses mains virtuoses dans cette optique. Ces analyses nous ont montre que les clavecinistes anterieurs de Rameau visaient avant tout ≪la bonne grace≫ dans leurs ceuvres mais Rameau attachait de l'importance a la virtuosite des mains et des doigts pour faire plaisir aux yeux des spectateurs. C'etait Rameau qui inventa cette sorte de nouvel art de toucher le clavecin en se debarrassant completement de l'influence de la musique du luth et de la notion d' ≪honnete homme≫. De plus, il etait un des pionniers qui ouvrirent la voie aux virtuoses vers la fin du 18^<eme> siecle en Europe. Ainsi finalement nous avons interprete les mots de Rameau : ≪l'oeil y partage le plaisir qu'en regoit l'oreille≫ comme une expression innovatrice non seulement pour la musique franchise du clavecin mais aussi pour l'histoire de la musique pour instruments a clavier.

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This paper intends to reappreciate Gasparo Angiolini (1731-1803)'s view of ballet d'action comparing with Jean=Georges Noverre. Close reading of his letters (Lettere di Gasparo Angiolini à Monsieur Noverre sopra i balli pantomimi (1773)) shows that Angiolini's view on the connection of each scene is quite clear; the plot should be the conduct principle. Angiolini thinks that the story should be told only by the means of ‘pas’, the language of ballet, then the libretto is not necessary for its representation. On this point, Angiolini's claim on the narrativity of ballet seems to be much more thorough than that of Noverre. Yet in pursuance of ballet d'action, Angiolini recognizes the ambiguity of the meaning of ballet language compared with spoken language. He thinks ballet language as a kind of sign, and values the ambiguity as its uniqueness. This recognition leads him to the valuation of ‘pas’ as movement itself, and Noverre also shares this idea; it seems to be quite close to our idea of so-called ‘pure dance’. In these senses, Angiolini's view provides us the right point of reference for reconsidering the assertion of ballet d'action, and still holds the significance in the history of ballet.

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