Research on Two Apotheosis Suites of François Couperin

• Main Author: 蔡岳岑
• Other Authors: 車炎江
• Format: Others
• Language: zh-TW
• Published: 2019
• Online Access: http://ndltd.ncl.edu.tw/handle/8q727v

碩士 === 國立臺北藝術大學 === 音樂學研究所 === 107 === 　　The thesis starts from the similarities and differences in music taste between France and Italy and their own views in the early eighteenth century. In terms of French music, it had long been influenced and controlled by the royal court, a far cry from the free and unrestrained music style of Italy. François Couperin (1668-1733) used to be employed by the court of Louis XIV (1638-1715), and his music compositions were naturally affected. However, in the prime of youth, with the aspiration for Italian music, his attempt to combine styles of the two countries for long reconciled the disputes between the two sides through music, and to realize ultimately the perfect music in his mind. He published two trio sonatas in the apotheosis series respectively in 1724 and 1725, L’apothéose de Corelli and L’apothéose de Lully, which belonged to this category. 　　With the conception of apotheosis, Couperin endowed the two works with distinctive titles and contents. Based on careful examinations of each movement in these two works, this thesis will take a close look at their context and development. The relationship between music, context and plot will be compared through all parts and movements with the significance of stories in the works to unveil the universal value and ideal of consciousness he pursued in the past and finally carried out the original intention of music Couperin had pursued in his lifetime.