Historical SourcePublic Domain
Elements ou Principes de Musique mis dans un nouvel ordre, tres clair, tres facile et tres court, divisez en trois parties (Etienne Loulie, Paris: Christophe Ballard, 1696)
Publisher: Etienne Loulie (1654-1702), French theorist, musician, and dance-master active in Paris c.1670-1702 - pupil of Bertrand de Bacilly. Imprint: Christophe Ballard, seul Imprimeur du Roy pour la Musique, rue Saint Jean de Beauvais au Mont Parnasse, Paris 1696. Royal Privilege 1696 (12-year exclusive). Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1696-Loulie-Elements_(BNF).txt (1110-line ABBYY OCR; readable French Baroque-era typography). STRUCTURE: Preface + 3 parts. (I) PRINCIPES DE MUSIQUE - pedagogy for children: 7 notes (Ut Re Mi Fa Sol La Si), single C-clef on the 1st line, mesure a quatre temps, 5 note-figures (ronde / blanche / noire / croche / double croche), dieze / bemol / bequarre, lessons in 2nds-3rds-4ths-5ths-6ths-7ths-8ths ascending and descending. (II) PRINCIPES POUR ECOLIERS PLUS AVANCEZ - gamme, cles (multiple positions), transposition, mesures (quatre temps / trois temps / deux temps; tempo signs), application of Paroles to Notes. (III) PRINCIPES POUR CEUX QUI SONT CAPABLES DE RAISONNER - definition of musique and son, monocorde for measuring sound proportions, 7 natural sons, dieze and bemol altered sons, ton and demy-ton, transposition theory, intervalles, parties (voix and instrumens), modes, agrements du chant, decompter, and the famous CHRONOMETRE - a pendulum-based proto-metronome with a printed estampe (figure) and described usage for marking the 'veritable mouvement' of compositions. HISTORIC SIGNIFICANCE: a foundational French Baroque music-theory treatise - coined the term 'Chronometre' for tempo-marking, ~120 years before Maelzel's metronome (1815), establishing the French Baroque pedagogical-theory tradition that Rameau would inherit (Traite de l'Harmonie, 1722). Loulie's Chronometre is foundational for the performance-tempo specifications of French dance music - the Sarabande, Courante, Menuet, Passacaille, Chaconne, Bourree, Gavotte, and Gigue cadence-tempi were first systematically codified via this pendulum-based instrument. ROSETTA-STONE VALUE: this is the FIRST FRENCH-LANGUAGE PUBLISHED CODIFICATION of the pendulum tempo-marking concept that Beauchamp-Feuillet 1700 would presume in their notation system 4 years later - establishing the music-theory infrastructure on which Choreography-as-notation depends. Has_Step_Detail = No - pure music-theory treatise; no dance figures or step-pedagogy. Corpus-completeness import; minted as a single music-theory anchor canonical (Chronometre) with Rosetta-stone notes to the H-BAR cadence canonicals (Sarabande, Courante, Menuet etc.) that Loulie's tempo system underwrites.Year: 1696Family: loulie-elementsCatalog: local
Dance manual/reference by Etienne Loulie (1654-1702), French theorist, musician, and dance-master active in Paris c.1670-1702 - pupil of Bertrand de Bacilly. Imprint: Christophe Ballard, seul Imprimeur du Roy pour la Musique, rue Saint Jean de Beauvais au Mont Parnasse, Paris 1696. Royal Privilege 1696 (12-year exclusive). Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1696-Loulie-Elements_(BNF).txt (1110-line ABBYY OCR; readable French Baroque-era typography). STRUCTURE: Preface + 3 parts. (I) PRINCIPES DE MUSIQUE - pedagogy for children: 7 notes (Ut Re Mi Fa Sol La Si), single C-clef on the 1st line, mesure a quatre temps, 5 note-figures (ronde / blanche / noire / croche / double croche), dieze / bemol / bequarre, lessons in 2nds-3rds-4ths-5ths-6ths-7ths-8ths ascending and descending. (II) PRINCIPES POUR ECOLIERS PLUS AVANCEZ - gamme, cles (multiple positions), transposition, mesures (quatre temps / trois temps / deux temps; tempo signs), application of Paroles to Notes. (III) PRINCIPES POUR CEUX QUI SONT CAPABLES DE RAISONNER - definition of musique and son, monocorde for measuring sound proportions, 7 natural sons, dieze and bemol altered sons, ton and demy-ton, transposition theory, intervalles, parties (voix and instrumens), modes, agrements du chant, decompter, and the famous CHRONOMETRE - a pendulum-based proto-metronome with a printed estampe (figure) and described usage for marking the 'veritable mouvement' of compositions. HISTORIC SIGNIFICANCE: a foundational French Baroque music-theory treatise - coined the term 'Chronometre' for tempo-marking, ~120 years before Maelzel's metronome (1815), establishing the French Baroque pedagogical-theory tradition that Rameau would inherit (Traite de l'Harmonie, 1722). Loulie's Chronometre is foundational for the performance-tempo specifications of French dance music - the Sarabande, Courante, Menuet, Passacaille, Chaconne, Bourree, Gavotte, and Gigue cadence-tempi were first systematically codified via this pendulum-based instrument. ROSETTA-STONE VALUE: this is the FIRST FRENCH-LANGUAGE PUBLISHED CODIFICATION of the pendulum tempo-marking concept that Beauchamp-Feuillet 1700 would presume in their notation system 4 years later - establishing the music-theory infrastructure on which Choreography-as-notation depends. Has_Step_Detail = No - pure music-theory treatise; no dance figures or step-pedagogy. Corpus-completeness import; minted as a single music-theory anchor canonical (Chronometre) with Rosetta-stone notes to the H-BAR cadence canonicals (Sarabande, Courante, Menuet etc.) that Loulie's tempo system underwrites. (1696). Imported from local collection.