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Desire and Pleasure in Seventeenth-Century Music$
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Susan McClary

Print publication date: 2012

Print ISBN-13: 9780520247345

Published to California Scholarship Online: September 2012

DOI: 10.1525/california/9780520247345.001.0001

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Temporality and Ideology: Qualities of Motion in Seventeenth-Century French Music

Temporality and Ideology: Qualities of Motion in Seventeenth-Century French Music

Chapter:
(p.241) Chapter 9 Temporality and Ideology: Qualities of Motion in Seventeenth-Century French Music
Source:
Desire and Pleasure in Seventeenth-Century Music
Author(s):

Susan Mcclary

Publisher:
University of California Press
DOI:10.1525/california/9780520247345.003.0010

“Temporality and Ideology” considers the timeless mode of temporality cultivated in many cultural forms in seventeenth-century France, but with a special focus on the keyboard music of Jean-Henry D'Anglebert. It begins with the problems performers face when addressing this repertory, which often seems not to make sense when compared to more familiar “French” dances of Bach. Working from within the music itself, the chapter advocates that performers adopt a quite different quality of attention, similar to what art historian Michael Fried calls “absorption.” It then proceeds to find evidence of this quality in seventeenth-century sources such as theology, philosophy, art, and literature.

Keywords:   Michael Fried, absorption, Jean-Henry D'Anglebert, Louis XIV, Blaise Pascal, quietism

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