Metrics and prosody in the analysis of musical declamation in France. Methodologic principles applied to the Tragédie en musique “Didon” (1693) of Geneviève Gillot de Saintonge and Henry Desmarest

Abstract

The paper studies the modalities of recitative and air in the 17th-century tragédie en
musique, taking as example Didon by Henry Desmarest, probably one of the
composers most preoccupied by the problem of the articulation language-music in
prosodic and rhythmic matters after Lully. Its functioning is studied on the basis of
numerous examples recited and sung, allowing to deduce rules for the musical
analysis and the vocal interpretation.