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This site reflects the Académie Desprez's works and their constant evolution

Association Française pour le Rayonnement du Théâtre du Château de Drottningholm

Musical studies Des Orages

2000 Naumann

Poetry, declamation & music

2002 Dubos

2002 Raparlier   

2001 Bacilly

Poésie, musique & mise au théâtre

2004 Muzio

Themes sets - page 2/2 05/2002

Two themes sets are until now specific to the Académie Desprez' programme of Musical Studies: musical machines and the setting of texts to music.

Musical machines

During the XVIIIth century, many (and various) musical machines have been build, ranging from machines that produce sound, those being music instruments, to machines that react to music, like stage machineries, and including machines that perform music, automatons. 

From 2000 to 2002, Des Orages Programme has been questioning the conception of storms in baroque operas.

From Text to Music

In the XVIIth and XVIIIth centuries, the relations between Text and Music were very different from those we nowadays ponder over. In France, opera was called Tragédie en musique and it was the poet, not the musician, who was considered to be the author of a Cantate française.

Thereby, describing and implementing the French language were strong concerns, as well in political, scientific and artistic fields. In order to homogenise it on a recently extended territory, but still commanded by a unique sovereign, the French language was theorised in many treatises (for pronunciation, and spoken declamation to be applied to sung declamation), whilst the Tragédie en musique developed proposing a noble, ideal and lasting notation of the language's music. This very language that this process contributed to establish is still ours. 

We assume that the structure of the language determined then the structure of the music, not the opposite. Four different pieces will be studied, each one from a different point of view, every time in search of the terms of this induction

Rémy-Michel Trotier
May 2002

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