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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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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 23 October 2019

Dancing about Power, Architecture about Dancing

Dancing about Power, Architecture about Dancing

Chapter:
(p.215) Chapter 8 Dancing about Power, Architecture about Dancing
Source:
Desire and Pleasure in Seventeenth-Century Music
Author(s):

Susan Mcclary

Publisher:
University of California Press
DOI:10.1525/california/9780520247345.003.0009

“Dancing about Power, Architecture about Dancing” takes up the heavily regulated dance forms that appeared in all court cultures but that held a position of particular authority in the France of Louis XIV. These also converged on something we recognize as tonality, though they did so from other directions and under the sway of vastly different cultural priorities. It is in the context of the dance that musicians accepted the discipline of going to the dominant for the first repeat sign and coming back to tonic for the second. This is not as obvious a strategy as one might think. How do the modally oriented dance forms of the sixteenth century become the basis of eighteenth-century sonata procedure?

Keywords:   dance, Louis XIV, Girolamo Frescobaldi, Johann Jacob Froberger, Jean-Henry D'Anglebert, J. S. Bach

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