Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century

Abstract

By praising rulers, whose magnificence formed a crucial part of the world order, Pierre de Ronsard and his French colleagues in the second half of the sixteenth century often depicted the world not as it was but as it ought to be. This idea informs Margaret McGowan's book on ideal forms in the age of Ronsard, in which she explores the ways poets and painters extolled the virtues and the theatrical magnificence of perfect princes following the Horatian dictum ut pictura poesis: as is painting so is poetry. McGowan demonstrates the virtuosity of the painters and poets of the sixteenth century in shaping their hymns of praise from the subject matter and ideals of ancient Greece and Rome by following Horace's advice to regard paintings as mute poems and poems as speaking pictures. McGowan shows how artists and intellectuals pursued their goals by creating four kinds of ideal form: iconic forms, sacred images derived from classical literary sources offering princes some guarantee of immortality; triumphal forms that evoke the heroic imperial past; ideal forms of beauty to be found in contemplating the beloved; and dancing forms that mirror rituals of celebration. McGowan claims that such ideal forms were intended to enlighten the ruler himself as much as they celebrated his grandeur in the eyes of others.

Designing a Participatory and Interactive Opera

“…Also, there is very little documentation that exists to guide anyone attempting to develop an opera or write a libretto. The only scholarly text we could find was a small memoire written in 1914 [18] that drew on analysis of existing, mostly nineteenth century operas to make a few suggestions, although there is also information to be gleaned from discussions concerning whether the text or the music should have primacy [20] as well as the process of bringing meraviglia into opera [15].…”