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Bibliography
- General Interest
- Lully Biographies
- Central Reference Works
- The Operas
- The Ballets
- Other Works
- Lully's Collaborators and Contemporaries
- Printers
- Music and Society in the Age of Louis XIV
- The Individual Operas
- After Lully
General Interest
Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau. Revised edition. New York: Norton, 1978.
Benoit, Marcelle. "Paris, 1661-87: The Age of Lully." In The Early Baroque Era: From the Late 16th Century to the 1660s, ed. Curtis Price, 238-269. Englewood Cliffs, NJ: Prentice-Hall, 1994.
Canova-Green, Marie-Claude and Francesca Chiarelli, ed. The Influence of Italian Entertainments on Sixteenth- and Seventeenth-Century Music Theatre in France, Savoy, and England. Lewiston, NY: Mellen Press, 2000.
Coeyman, Barbara. “Opera and Ballet in Seventeenth-Century French Theaters: Case Studies of the Salle des Machines and the Palais Royal Theater.” In Opera in Context: Essays on Historical Staging From the Late Renaissance to the Time of Puccini, ed. Mark A. Radice, 37-71. Portland, OR: Amadeus, 1998.
Demuth, Norman. French Opera: Its Development to the Revolution. Chester Springs, PA: Dufour Editions, 1964.
Gambelli, Delia and Letizia Norci Cagiano De Azevedo. Le théâtre en musique et son double (1600-1762): Actes du colloque "L'Académie de musique, Lully, l'opéra et la parodie de l'opéra", Rome, 4-5 février 2000. Paris: H. Champion, 2005.
Heyer, John Hajdu, ed. Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony. New York: Cambridge University Press, 1989.
Isherwood, Robert M. Music in the Service of the King: France in the Seventeenth Century. Ithaca, NY: Cornell University Press, 1973.
La Gorce, Jérôme de. "Les débuts de l'opéra français: Origines et formation de la tragédie en musique." In Les premiers opéras en Europe et les formes dramatiques apparentées: Actes du 4e- séminaire international de la Société Internationale d'Histoire Comparée du Théâtre, de l'Opéra et du Ballet, ed. Irène Mamczarz, 133-140. Paris: Klincksieck, 1992.
La Gorce, Jérôme de. “L'opera en France.” In Spectaculum Europaeum: Theater and Spectacle in Europe (1580-1750), ed. Pierre Béhar and Helen Watanabe-O'Kelly, 385-404. Wiesbaden: Harrassowitz, 1999.
Weiss, Piero. Opera: A History in Documents. New York: Oxford, 2002.
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Lully Biographies
Anthony, James R. "Jean-Baptiste Lully." In The New Grove French Baroque Masters. New York: W.W. Norton & Company, 1986.
Beaussant, Philippe. Lully: ou le musicien du soleil. Centre de Musique Baroque de Versailles. Paris: Gallimard, 1992.
Gallois, Jean. Jean-Baptiste Lully, ou, La naissance de la tragédie lyrique. Geneva, Switzerland: Editions Papillon, 2001.
Haymann, Emmanuel. Lulli. Paris: Flammarion, 1991.
La Gorce, Jérôme de. Jean-Baptiste Lully. Paris: Fayard, 2002.
La Gorce, Jérôme de. "Lully." Grove Music Online. Edited by L. Macy. Accessed August 16, 2005. http://www.grovemusic.com
La Laurencie, Lionel de. Lully - Maîtres de la musique. New York: Da Capo, 1977.
Scott, Ralph Henry Forster. Jean-Baptiste Lully: The Founder of French Opera. London: Owen, 1973.
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Central Reference Works
Benoit, Marcelle, ed. Dictionnaire de la musique en France aux XVIIe et XVIIIe siècles. Paris: Fayard, 1992.
Girdlestone, Cuthbert Morton. La tragédie en musique (1673-1750) considérée comme genre littéraire. Geneva, Switzerland: Droz, 1972.
Gustafson, Bruce. A Thematic Locator for the Works of Jean-Baptiste Lully. New York: Broude, 1989.
Heyer, John Hajdu, ed. Lully Studies. New York: Cambridge University Press, 2000.
Hill, John Walter. Baroque Music: Music in Western Europe, 1580-1750. New York: W.W. Norton, 2005.
Lajarte, Théodore de, ed. Opéra de Paris. Hildesheim: G. Olms, 1969. Reprint. Originally published: Paris: Librairie des bibliophiles, 1878.
La Gorce, Jérôme de and Herbert Schneider, ed. Quellenstudien zu Jean-Baptiste Lully/L'oeuvre de Lully: Etudes des sources--Hommage a Lionel Sawkins. Hildesheim: Olms, 1999.
Pitou, Spire. The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. 4 volumes. Westport, CT: Greenwood Press, 1983-1990.
Quinault, Philippe. Livrets d'Opéra. 2 volumes. Ed. Buford Norman. Paris: Diff. H. Champion, 1999.
Recueil général des opéras représentés par l'Académie royale de musique depuis son établissement. Geneva, Switzerland, Slatkine Reprints, 1971. Originally published in Paris, 1703-1746.
Schmidt, Carl B., ed. The Livrets of Jean-Baptiste Lully's Tragédies Lyriques: A Catalogue Raisonné. New York: Performers' Editions, 1995.
Schneider, Herbert. Chronologisch-thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully (LWV). Tutzing: Schneider, 1981.
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The Operas
Anthony, James R. "The Musical Structure of Lully's Operatic Airs." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 65-76. Laaber, Germany: Laaber Verlag, 1990.
Banducci, Antonia L. "Staging and its Dramatic Effect in French Baroque Opera: Evidence from Prompt Notes." Eighteenth-Century Music 1 (2004): 5-28.
Burgess, Geoffrey Vernon. Ritual in the Tragédie en Musique from Lully's Cadmus et Hermione (1673) to Rameau's Zoroastre (1749). PhD diss.,Cornell University, 1999.
Falk, Marguerite. "Ein Italiener in Versailles. Jean-Baptiste Lully und die französische tragédie-lyrique." Musica 31 (1977): 231-34.
Gordon-Seifert, Catherine. “Heroism Undone: The Erotic Manuscript Parodies of Jean-Baptiste Lully's Tragédies en Musique.” In Music, Sensation, and Sensuality, ed. Linda Phyllis Austern, 137-163. New York: Routledge, 2002.
Harris-Warrick, Rebecca. “‘Toute danse doit exprimer, peindre ...’: Finding the Drama in the Operatic Divertissement.” Basler Jahrbuch für historische Musikpraxis 23 (1999): 189-210.
Harris-Warrick, Rebecca. “Magnificence in Motion: Stage Musicians in Lully's Ballets and Operas." Cambridge Opera Journal 6 (1994): 189-203.
Harris-Warrick, Rebecca. "The Phrase Structure of Lully's Dance Music." In Lully Studies, ed. John Hadju Heyer, 32-56. New York: Cambridge University Press, 2000.
Hertel, Carola. “’Sans avoir egard a la mesure des vers, ni au caractere de l'air, ni au sens des paroles?’ Observations sur des parodies de recitatif de Lully.” In Timbre und Vaudeville: Zur Geschichte und Problematik einer popularen Gattung im 17. und 18. Jahrhundert, ed. Herbert Schneider, 42-56. Hildesheim: Olms, 1999.
Howard, Patricia. The Operas of Jean-Baptiste Lully. Ph.D. diss., University of Surrey, 1970.
Howard, Patricia. "The Académie Royale and the Performances of Lully's Operas." The Consort 31 (1975): 109-115.
Howard, Patricia. "Lully and the Ironic Convention." Cambridge Opera Journal 1 (July 1989): 139-153.
La Gorce, Jérôme de. “L'heritage de l'opera italien dans les tragedies en musique de Lully.” In The Influence of Italian Entertainments on Sixteenth- and Seventeenth-Century Music Theatre in France, Savoy, and England, ed. Canova-Green, Marie-Claude and Francesca Chiarelli, 83-91. Lewiston, NY: Mellen Press, 2000.
La Gorce, Jérôme de. “Quelques rapports entre les dessins d'operas francais du regne de Louis XIV et l'architecture, la sculpture et la peinture.” In Iconographie et Arts du Spectacle, ed. Jérôme de La Gorce, 135-154. Paris: Klincksieck, 1996.
La Gorce, Jérôme de. “Tempetes et tremblements de terre dans l'opera francais sous le regne de Louis XIV.” In Le Mouvement en Musique a l'Epoque Baroque, ed. Herve Lacombe , 171-188. Metz: Serpenoise, 1996.
Legrand, Raphaelle. “Chaconnes et Passacailles Dansees dans l'Opera Francais: Des airs de Mouvement.” In Le Mouvement en Musique a l'Epoque Baroque, ed. Herve Lacombe, 157-170. Metz: Serpenoise 1996.
Legrand, Raphaelle. “La rhetorique en scene: Quelques perspectives pour l'analyse de la tragedie en musique.” Revue de Musicologie 84 (1998): 79-91.
Newman, Joyce Enith Watkins. Jean-Baptiste de Lully and His Tragédies Lyriques. Ann Arbor: UMI Research Press, 1979.
Norman, Buford. "The Exile of Reason: The Representation of Emotion in the Tragédie Lyrique." Ars lyrica 7 (1993): 65-74.
Pinson, Jean-Pierre. "L'action dans le récitatif pathétique de Lully: La déclamation." Canadian University Music Review/Revue de musique des universités canadiennes 5 (1984): 152-78.
Rosow, Lois. "French Baroque Recitative as an Expression of Tragic Declamation." Early Music 9 (1983): 468-79.
Rosow, Lois. Journal of Seventeenth-Century Music 10 (2004). Issue Dedicated to the Memory of James R. Anthony: Le Théâtre de sa Gloire: Essays on Persée, Tragédie en Musique by Quinault and Lully. Accessed August 19, 2005. http://sscm-jscm.press.uiuc.edu/jscm/v10no1.html
Rosow, Lois Ann. "The Metrical Notation of Lully's Recitative." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 405-422. Laaber, Germany: Laaber Verlag, 1990.
Sadler, Graham. “The Basse Continue in Lully's Operas: Evidence Old and New.” In Quellenstudien zu Jean-Baptiste Lully/L'oeuvre de Lully: Etudes des sources - Hommage a Lionel Sawkins, ed. Jérôme de La Gorce et Herbert Schneider, 382-397. Hildesheim: Olms, 1999.
Schmidt, Carl B. "The Geographical Spread of Lully's Operas During the Late Seventeenth and Early Eighteenth Centuries: New Evidence from the Livrets." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. by Jérôme de La Gorce and Herbert Schneider, 331-348. Laaber, Germany: Laaber Verlag, 1990.
Schneider, Herbert. Die Rezeption der Opern Lullys im Frankreich des Ancien Regime. Tutzing: H. Schneider, 1982.
Schneider, Herbert. "Strukturen der Szenen und Akte in Lullys Opern." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 77-98. Laaber, Germany: Laaber Verlag, 1990. 77-98.
Seares, Margaret. "Aspects of Performance Practice in the Recitatives of Jean-Baptiste Lully." Studia Musicologica Academiae Scientiarum Hungaricae 8 (1974): 8-16.
Stefanovic, Ana. La musique comme métaphore: la relation de la musique et du texte dans l'opéra baroque français, de Lully à Rameau. Paris: Harmattan, 2006.
Wood, Caroline. Music and Drama in the Tragédie en Musique, 1673-1715:
Jean-Baptiste Lully and his Successors. New York: Garland, 1996.
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The Ballets
Christout, Marie-Françoise. "Baptiste, interprète des ballets de cour." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. by Jérôme de La Gorce and Herbert Schneider, 209-222. Laaber, Germany: Laaber Verlag, 1990.
Coeyman, Barbara. "Lully's Influence on the Organization and Performance of the «Ballet de Cour» after 1672." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 517-528. Laaber, Germany: Laaber Verlag, 1990.
Ellis, Meredith. "Inventory of the Dances of Jean-Baptiste Lully." Recherches sur la musique française classique 9 (1969): 21-55.
Harris-Warrick, Rebecca. "From Score into Sound: Questions of Scoring in Lully's Ballets." Early Music 21 (1993): 354-362.
Harris-Warrick, Rebecca. "La mariée: The History of a French Court Dance." In Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony, ed. John Hajdu Heyer, 239-257. New York: Cambridge University Press, 1989.
Harris-Warrick, Rebecca. “Magnificence in Motion: Stage Musicians in Lully's Ballets and Operas." Cambridge Opera Journal 6 (1994): 189-203.
Harris-Warrick, Rebecca. “Recovering the Lullian Divertissement.” In Dance & Music in French Baroque Theatre: Sources & Interpretations, ed. Sarah McCleave, 55-80. London: University of London King's College, 1998.
La Gorce, Jerome de. “Vestiges des materiels de l'Opera a l'epoque de Lully: Les parties de haute-contre de violin pour Le triomphe de l'amour et Persee.” In Quellenstudien zu Jean-Baptiste Lully/L'oeuvre de Lully: Etudes des sources--Hommage a Lionel Sawkins, ed. Jérôme de La Gorce et Herbert Schneider, 337-351. Hildesheim: Olms, 1999.
Launay, Denise. "Les airs italiens et français dans les ballets et les comédies-ballets." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. by Jérôme de La Gorce and Herbert Schneider, 31-50. Laaber, Germany: Laaber Verlag, 1990.
Little, Meredith. "Problems of Repetition and Continuity in the Dance Music of Lully's Ballet des Arts." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 423-432. Laaber, Germany: Laaber Verlag, 1990.
Powell, John S. “Appropriation, Parody, and the Birth of French Opera: Lully's Les festes de l'Amour et de Bacchus and Molière's Le malade imaginaire.” Recherches sur la Musique Francaise Classique 29 (1996): 3-26.
Powell, John S. "'Pourquoi toujours des Bergers?' Molière, Lully, and the Pastoral Divertissement." In Lully Studies, ed.John Hadju Heyer, 166-198. New York: Cambridge University Press, 2000.
Prunieres, Henry. "Les premiers ballets de Lully." Revue Musicale 398-399 (1987): 7-23. Reprint of an article appearing June 1931.
Schneider, Herbert. “Zu den Fassungen und musikalischen Quellen des Bourgeois gentilhomme von J.-B. Lully.” In Quellenstudien zu Jean-Baptiste Lully/L'oeuvre de Lully: Etudes des sources--Hommage a Lionel Sawkins, ed. Jérôme de La Gorce et Herbert Schneider, 175-199. Hildesheim: Olms, 1999.
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Other Works
Chung, David. “Lully, D'Anglebert and the Transmission of 17th-century French Harpsichord Music.” Early Music 31 (2003): 582-604.
La Gorce, Jérôme de. “La derniere oeuvre de Lully retrouvee: Il faut mourir, pecheur.”
Ostinato Rigore: Revue Internationale d'Etudes Musicales 8-9 (1997): 117-121.
Montagnier, Jean-Paul C. “De l'Opera a la Chapelle Royale: Le Notus in Judaea Deus de Jean-Baptiste Lully comme exemple d'une rhetorique de l'image sonore.” Schweizer Jahrbuch fur Musikwissenschaft/Annales suisses de musicologie/Annuario svizzero di musicologia 22 (2002): 277-294.
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Lully's Collaborators and Contemporaries
Anthony, James R. "Collasse, Pascal." Grove Music Online. Edited by L. Macy. Accessed August 16, 2005. http://www.grovemusic.com
Anthony, James R. "Quinault, Philippe" Grove Music Online. Edited by L. Macy. Accessed August 16, 2005. http://www.grovemusic.com
Backes, Jean-Louis. “Recitatifs et vers meles.” In Entre Theatre et Musique: Recitatifs en Europe aux XVIIe et XVIIIe Siecles, ed. Raphaëlle Legrand et Laurine Quetin, 7-16. Tours, France: Universite de Tours, U.F.R de letters, 1999.
Brooks, William. "Lully and Quinault at Court and on the Public Stage, 1673-86." Seventeenth-Century French Studies 10 (1988): 101-21; supplement in Seventeenth-Century French Studies 11 (1989): 147-150.
Brooks, William. "17th-century Culture: Quinault and Lully Resurgent." French Studies 47 (1993): 17-19.
Buford, Norman. Touched By the Graces: The Libretti of Philippe Quinault in the Context of French Classicism. Birmingham, AL: Summa, 2001.
Clerc, Pierre-Alain. “De Racine a Lully, de Lully a Racine: Chanter comme on parle.”
Analyse Musicale 42 (2002): 47-59.
Fleck, Stephen H. Music, Dance, and Laughter: Comic Creation in Molière's Comedy-Ballets. Paris: Biblio, 1995.
Fricke, Dietmar. "Molière et Lully: Une symbiose artistique sans suite?." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 181-192. Laaber, Germany: Laaber Verlag, 1990.
Gervais, Philippe. Les Tragedies en Musique de Philippe Quinault: Etude Rhetorique. PhD diss., Universite de Paris III [Sorbonne-Nouvelle], 2002.
Gros, Étienne. Philippe Quinault: Sa vie et son oeuvre. Paris: Champion, 1926.
Hibberd, Lloyd. "Mme de Sévigné and the Operas of Lully." In Essays in Musicology: A Birthday Offering to Willi Apel, ed. Hans Tischler, 153-163. Bloomington, IN: Indiana University Press, 1968.
Jones, Dorothy F. Jean de Campistron, a Study of His Life and Work. University, MS: Romance Monographs, 1979.
Kapp, Volker. "Benserade, librettiste de Lully et panégyriste du roi." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 167-180. Laaber, Germany: Laaber Verlag, 1990.
La Gorce, Jérôme de. "Un proche collaborateur de Lully: Philippe Quinault." Dix-septieme Siecle 161 (1988): 365-370.
Massip, Catherine. "Michel Lambert and Jean-Baptiste Lully: The Stakes of a Collaboration." In Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony, ed. John Hajdu Heyer, 25-39. New York: Cambridge University Press, 1989.
McIntyre, Bruce. Eros et merveilleux: les tragedies lyriques de Quinault. PhD diss., Macquarie University, 1998.
Moroney, Davitt. "Chambonnières and His «Belle manière»." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 201-208. Laaber, Germany: Laaber Verlag, 1990.
Prunieres, Henry. "La Fontaine et Lully." Revue Musicale 398-399 (1987): 49-64. Reprint of an article appearing August 1921.
Purves-Smith, Shannon Diane. “Les strategies rhetoriques de Philippe Quinault dans ses epitres dedicatoires, dans les prologues de ses operas et dans sa tragedie lyrique.” MA thesis, Carleton University, 2000.
Quetin, Laurine. "Quinault, librettiste entre le tragique et le romanesque: Amadis de Gaule." In Les Ecrivains Francais et l'Opera, ed. Jean-Paul Capdevielle and Peter-Eckhard Knabe, 19-37. Koln: DME, 1986.
Quinault, Philippe. Livrets d'Opéra. 2 vols. Ed. Buford Norman. Paris: Diff. H. Champion, 1999.
Schmidt, Carl B. "Livrets for Lully's Ballets and Mascarades: Notes Toward a Publishing History and Chronology (1654-1671)." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 331-348. Laaber, Germany: Laaber Verlag, 1990. 331-348.
Silin, Charles I. Benserade and his Ballets de Cour. Baltimore, MD: The Johns Hopkins Press, 1940.
White, Bryan. “Grabu's Albion and Albanius and the Operas of Lully: ‘...acquainted with all the performances of the French Operas’.” Early Music 30 (2002): 410-427.
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Printers
Hopkinson, Cecil. A Dictionary of Parisian Music Publishers 1700-1950. London: s.n., 1954.
Giannini, Tula. "The Music Library of Jean-Baptiste Christophe Ballard, Sole Music Printer to the King of France, 1750 Inventory of his Grand Collection Brought to Light." In E-Documentation in the Humanities, Series 1, Spring 2003. Accessed August 14, 2007. http://pratt.edu/~giannini/ballard.htm
Guillo, L. Bibliographie des éditions imprimées par Pierre I Ballard puis par Robert III Ballard (1599-1673). In progress. (reported to us by the author)
Lesure, F. and G. Thibault. Bibliographie des éditions musicales imprimées par Adrian Le Roy et Robert Ballard. Paris: s.n., 1955.
Pogue, Samuel F. "Ballard." In Music Printing and Publishing, ed. D. W. Krummel and Stanley Sadie, 159-163. New York: W.W. Norton & Company, 1990.
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Music and Society in the Age of Louis XIV
Bauman, Thomas, and Marita Petzoldt, ed. Opera and the Enlightenment. New York: Cambridge University Press, 1995.
Benoit, Marcelle. Musiques de cour, chapelle, chambre, ecurie, recueil de documents 1661-1733. Paris: Picard, 1971.
Benoit, Marcelle. L'Europe musicale au temps de Louis XIV. Paris: Editions Aug. Zurfluh, 1993.
Benoit, Marcelle. Les musiciens du roi de France, 1661-1733: Étude sociale. 2nd edition. Paris: Presses Universitaires de France, 1998.
Chae, Donald B. Music, Festival, and Power in Louis XIV's France: Court Divertissements and the Musical Construction of Sovereign Authority and Noble Identity, 1661-1674. PhD diss., University of Chicago, 2003.
Gordon-Seifert, Catherine. “Strong Men, Weak Women: Gender Representation and the Influence of Lully's "Operatic Style" on French Airs Sérieux (1650-1700).” In Musical Voices of Early Modern Women: Many-Headed Melodies, ed. Thomasin K. LaMay, 135-167. Burlington, VT: Ashgate, 2005.
Hosford, Desmond. Redefining perfection: The Lullian aesthetic and its 18th-century development. Ann Arbor, Michigan: UMI Research Press, 2004.
Howard, Patricia. "The Influence of the Precieuses on Content and Structure in Quinault's and Lully's Tragédies Lyriques." Acta Musicologica 63 (1991): 57-72.
Howard, Patricia. “Quinault, Lully, and the Precieuses: Images of Women in Seventeenth-Century France.” In Cecilia Reclaimed: Feminist Perspectives on Gender and Music, ed. Susan C. Cook and Judy S. Tsou, 70-89. Urbana, Illinois: University of Illinois, 1994.
Karro, Françoise. "L'empire ottoman et l'Europe dans l'opera français et viennois au temps du Lully." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 251-269. Laaber, Germany: Laaber Verlag, 1990.
La Gorce, Jérôme de. "L'Opéra et son public au temps de Louis XIV." Bulletin de la Société de l'histoire de Paris et de l'Ile-de-France 108 (1981): 27-46.
La Gorce, Jérôme de. "L'opéra français à la cour de Louis XIV." Revue de la Société d'histoire du théâtre 35 (1983-84): 387-401.
La Gorce, Jérôme de, Josiane Bran-Ricci, and Claude Mercier-Ythier, ed. Lully, un age d'or de l'opera francais. Paris: Cicero, 1991.
Nancy, Sarah. "Les regles et le plaisir de la voix dans la tragedie en musique."
Dix-septieme Siecle 223 (2004): 225-236.
Pruniers, Henry. "Lully and the Académie de Musique et de Dance." Musical Quarterly 11 (1925): 528-546.
Rice, Paul Francis. The Performing Arts at Fontainebleau from Louis XIV to Louis XVI. Ann Arbor, Michigan: UMI Research Press, 1989.
Rosow, Lois. "From Destouches to Berton: Editorial Responsibility at the Paris Opéra." Journal of the American Musicological Society 40 (1987): 285-309.
Sadie, Julie Anne. "Louis XIV." Grove Music Online. Ed. L. Macy. Accessed August 16, 2005. http://www.grovemusic.com
Schneider, Herbert. "Dokumente zur französischen Oper von 1659 bis 1699." In Quellentexte zur Konzeption der europäischen Oper im 17. Jahrhundert, ed. Heinz Becker, 105-160. Kassel: Bärenreiter, 1981.
Schwartz, Judith L. French Court Dance and Dance Music: A Guide to Primary Source Writings, 1643-1789. Stuyvesant, NY: Pendragon Press, 1987.
Sonnino, Paul, ed. The Reign of Louis XIV: Essays in Celebration of Andrew Lossky. Atlantic Highlands, NJ: Humanities Press International, 1990.
Stefanovic, Ana. Alegorie et metaphore: Deux modes politiques de l’opera baroque (1675-1733). PhD diss., Universite Paris Sorbonne-Paris IV, 2003.
Thomas, Downing A. Aesthetics of Opera in the Ancien Regime, 1647-1785.
New York: Cambridge University Press, 2002.
Zaslaw, Neal. "The First Opera in Paris: A Study in the Politics of Art." In Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony, ed. John Hajdu Heyer, 7-23. New York: Cambridge University Press, 1989.
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The Individual Operas
Achille et Polixene
Schneider, Herbert. "Opern Lullys in deutschsprachigen Bearbeitungen." In Die frudeutsche Oper und ihre Beziehungen zu Italien, England und Frankreich. Mozart und die Oper seiner Zeit, ed. Martin Ruhnke, 69-80. Laaber: Laaber-Verlag, 1981.
Alceste
Palisca, Claude V. “The Recitative of Lully's Alceste: French Declamation or Italian Melody?” In Actes de Baton Rouge, ed. Selma A. Zebouni, 19-34. Paris: Biblio (1986).
Smith, Kenneth Owen. “Jean-Baptiste Lully's Alceste as an Allegory for Louis XIV's Dutch War.” MM thesis, University of Illinois at Urbana-Champaign, 2000.
Amadis
Burgess, Geoffrey. “The Chaconne and the Representation of Sovereign Power in Lully's Amadis (1684) and Charpentier's Medée (1693).” In Dance & Music in French Baroque Theatre: Sources & Interpretations, ed. Sarah McCleave, 81-104. London: University of London King's College, 1998.
Lincoln, Stoddard. "The Anglicization of Amadis de Gaul." In On Stage and Off: Eight Essays in English Literature. Edited by John W. Ehrstine, John R. Elwood, and Robert C. McLean. Seattle: Washington State University Press, 1968.
Seares, Margaret. "The French Classical Tradition of Music as Seen in a Comparison of Lully's Amadis and Rameau's Hippolyte et Aricie." MA dissertation, University of Western Australia, 1973.
Armide
Berger, Christine. “Armide zwischen Resignation und Rache: Quinault und Lully zwischen Abschied und Ambition.” Archiv fur Musikwissenschaft 55 (1998): 110-131.
Buschmeier, Gabriele. “Glucks Armide-Monolog, Lully und die ‘Philosophes’.”
In Festschrift Klaus Hortschansky zum 60. Geburtstag, ed. Axel Beer and Laurenz Lütteken, 167-180. Tutzing, Germany: Schneider, 1995.
Grosperrin, Jean-Philippe. "La glorieuse, la songeuse et les magiciens: Seduction de l'illusion dans la tragédie lyrique (1675-1710)." Litteratures Classiques 44 (2002):115-139.
Mayrhofer, Marina. “Il meccanismo del merveilleux nella drammaturgia di Armide di Quinault-Lully.” Studi Musicali 25 (1996): 53-65.
McIntyre, Bruce. "Armide ou le monologue feminin." Australian Journal of French Studies 36 (1999): 157-172.
Porot, Bertrand. "Les enjeux de la celebration royale dans Armide de Lully et Quinault (1686)." Analyse Musicale 50 (2004): 16-27.
Reckow, Fritz. "'Cacher l'Art par l'Art meme': Lullys Armide-Monolog und die Kunst des Vergebens." In Analysen: Beitrage zu einer Problemgeschichte des Komponierens. Festschrift fur Hans Heinrich Eggebrecht zum 65. Geburtstag, ed. Werner Breig, Reinhold Brinkmann, and Elmar Budde, 128-57. Wiesbaden: Steiner, 1984.
Rosow, Lois Ann. "The Articulation of Lully's Dramatic Dialogue." In Lully Studies, ed. John Hadju Heyer, 72-99. New York: Cambridge University Press, 2000.
Rosow, Lois Ann. Lully's Armide at the Paris Opera: A Performance History, 1686-1766. Ph.D. diss., Brandeis University, 1981.
Rosow, Lois Ann. "How Eighteenth-Century Parisians Heard Lully's Operas: The Case of Armide's Fourth Act." In Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony, ed. John Hajdu Heyer, 213-237. New York: Cambridge University Press, 1989.
Schmidt, Dorte. Armide hinter den Spiegeln: Lully, Gluck und die Moglichkeiten der dramatsichen Parodie. Stuttgart, Germany: Metzler, 1997.
Schwartz, Judith L. “The Passacaille in Lully's Armide: Phrase Structure in the Choreography and the Music.” Early Music 26 (1998): 300-320.
Stefanovic, Ana. “Deconstruction of the Aesthetics of the Marvelous in French Baroque Opera.” New Sound: International Magazine for Music 13 (1999): 50-61.
Thomas, Downing A. “Opera, Dispossession, and the Sublime: The Case of Armide.” Theatre Journal 49 (1997): 168-88.
Atys
Browne, Marilyn K. "Opera and the Galant Homme: Quinault's and Lully's Tragédie en Musique, Atys, in the Context of Seventeenth-Century Modernism." MM thesis, University of North Texas, 1994.
Coeyman, Barbara. "Lully's and Christie's Atys." Historical Performance: The Journal of Early Music America 2 (1989): 73-78.
Henze-Dohring, Sabine. "Das verdichtete Bild": Traumvisionen in der Musik. In Traditionen-Neuansatze: Für Amalie Abert (1906-1996). Tutzing: Schneider, 1997. 315-327.
L'avant-scène opéra 94 (1987). Atys issue.
McKenna, Ilene M.R. "Atys: Le petit drole qui faisait la Furie et la Nourrice." MM thesis, University of London, King's College, 1989.
Bellérophon
McCredie, Andrew D. "The Bellerofonte-Bellerophon Tradition and Barthold Feind's Libretto Bellérophon." In Critica musica: Studien zum 17. und 18. Jahrhundert. Festschrift Hans Joachim Marx zum 65. Geburtstag, ed. Nicole Ristow, Wolfgang Sandberger, and Dorothea Schroeder, 201-219. Stuttgart, Germany: Metzler, 2001.
Cadmus et Hermione
Burgess, Geoffrey Vernon. Ritual in the Tragédie en Musique from Lully's Cadmus et Hermione (1673) to Rameau's Zoroastre (1749). PhD diss.,Cornell University, 1999.
Isis
Duggan, C. "Isis and the Development of Lully's French Style." MM thesis, University of Durham, 1986.
Norman, Buford. “La Tragédie lyrique, deca-danse ou apotheose? Le cas d'Isis.” In La Pensee de la Danse a l'Age Classique: Ecriture, Lexique et Poetique Lille, 35-46. Lille, France: Universite de Lille III, 1997.
Norman, Buford. "Quinault's Libretto for Isis: New Directions for the Tragédie-Lyrique." In Lully Studies, ed. John Hadju Heyer, 57-71. New York: Cambridge University Press, 2000.
Persée
Dieu, Lionel. “Le manuscrit de Boucard: Un manuscrit inconnu du Persée de Lully revele la mise en scene et l'utilisation du theatre en machine.” Ostinato Rigore: Revue Internationale d'Etudes Musicales 8-9 (1997): 123-142.
Dubois, Julien and Viet Linh Nguyen. "Sociopolitique des rapports texte-musique dans la musique française fin XVIIe-debut XVIIIe siecle." Analyse Musicale 42 (2002): 74-80.
Journal of Seventeenth-Century Music 10 (2004). Special issue: "Le Theatre de sa Gloire: Essays on Persée, Tragédie en Musique by Quinault and Lully."
La Gorce, Jerome de. “Vestiges des materiels de l'Opera a l'epoque de Lully: Les parties de haute-contre de violin pour Le triomphe de l'amour et Persee.” In Quellenstudien zu Jean-Baptiste Lully/L'oeuvre de Lully: Etudes des sources--Hommage a Lionel Sawkins, ed. Jérôme de La Gorce et Herbert Schneider, 337-351. Hildesheim: Olms, 1999.
Legrand, Raphaelle. "Persée de Lully et Quinault: Orientation pour l'analyse dramaturgique d'une tragedie en musique." Analyse Musicale 27 (1992): 9-14.
Norman, Buford. “Rivalry and Collaboration: The Role of Merope in Act I, Scene 4 of Quinault and Lully's Persée.” Journal of Seventeenth-Century Music 10 (2004). Accessed 14 May 2007. http://sscm-jscm.press.uiuc.edu/v10no1.html
Pierce, Ken and Jennifer Thorp. “The Dances in Lully’s Persée.” Journal of Seventeenth-Century Music 10 (2004). Accessed 14 May 2007. http://sscm-jscm.press.uiuc.edu/v10no1.html
Proctor, Gregory. “A Schenkerian Look at Lully.” Journal of Seventeenth-Century Music 10 (2004). Accessed 14 May 2007. http://sscm-jscm.press.uiuc.edu/v10no1.html
Rosow, Lois. “Lully’s Musical Architecture: Act IV of Persée.” Journal of Seventeenth-Century Music 10 (2004). Accessed 14 May 2007. http://sscm-jscm.press.uiuc.edu/v10no1.html
Phaëton
Astier, Regine. "Chacone pour une femme: Chaconne de Phaeton--A Performance Study." Dance Research: The Journal of the Society for Dance Research 15 (1996): 150-169.
Proserpine
Lester, Joel. "An Analysis of Lully from circa 1700." Music Theory Spectrum 16 (1994): 41-61.
Vialet, Michéle and Buford Norman. “Sexual and Artistic Politics under Louis XIV: The Persephone Myth in Quinault and Lully's Proserpine.” In Images of Persephone: Feminist Readings in Western Literature, ed. Elizabeth T. Hayes, 45-74. Gainesville: University Press of Florida, 1994.
Psyché
Delmas, Christian. “Le theatre musical et Psyché de Molière.” Litteratures Classiques 21 (1994): 221-236.
Mahe, Yann. "Les Psyché de Lully: Un miroir poetique entre scene et pouvoir politique. Analyse Musicale 49 (2003): 29-39.
Roland
Durosoir, Georgie. “Roland dans les representations theatrales et musicales francaises du XVIIe siecle.” In Figures de Roland, ed. Belinda Cannone and Michel Orcel, 135-159. Paris: Klincksieck, 1998.
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After Lully
Bartlet, M. Elizabeth C. "A Musician's View of the French Baroque After the Advent of Gluck: Gretry's Les trois ages de l'opéra and Its Context." In Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony, ed. John Hajdu Heyer, 291-318. New York: Cambridge University Press, 1989.
Bolduc, Benoît. “From Marvel to Camp: Medusa for the Twenty-First Century.” Journal of Seventeenth-Century Music 10 (2004). Accessed 14 May 2007. http://sscm-jscm.press.uiuc.edu/v10no1.html
Dill, Charles William. “Rameau Reading Lully: Meaning and System in Rameau's Recitative Tradition.” Cambridge Opera Journal 6 (1994): 1-17.
Fuller, David R. "Les arrangements pour clavier des œuvres de Jean-Baptiste Lully." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 471-482. Laaber, Germany: Laaber Verlag, 1990.
Grout, Donald Jay. "Seventeenth-Century Parodies of French Opera." Musical Quarterly 27 (1941). 211-219, 514-526.
Gustafson, Bruce. "The Legacy in Instrumental Music of Charles Babel, Prolific Transcriber of Lully's Music." In Jean-Baptiste Lully, Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 495-516. Laaber, Germany: Laaber Verlag, 1990.
Kintzler, Catherine. “Platee: La comedie, verite de la tragedie.” L'avant-Scene Opera 189 (1999): 44-49.
Kirkendale, Ursula. "Il re dei cieli e il re di Francia: Su un 'topos' nella maniera di Lully." Rivista italiana di musicologia 39 (2004): 53-106.
Latham, Edward D. “Physical Motifs and Concentric Amplification in Godard/Lully's Armide.” Indiana Theory Review 19 (1998): 55-85.
Lester, Joel. “An Analysis of Lully from circa 1700.” Music Theory Spectrum 16 (1994): 41-61.
Montagnier, Jean-Paul C. “Charles-Hubert Gervais' Psiche Burlesque and the Birth of the Comic Cantate Francaise." Journal of Musicology 17 (1999): 520-545.
Norman, Buford. “Remaking a Cultural Icon: Phedre and the Operatic Stage.”
Cambridge Opera Journal 10 (1998).
Noske, Frits. "L'influence de Lully en Hollande (1670-1700)." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 591-598. Laaber, Germany: Laaber Verlag, 1990.
Ranum, Patricia M. "'Mr. de Lully en trio': Etienne Loulié, the Foucaults, and the Transcription of the Works of Jean-Baptiste Lully (1673-1702)." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 309-330. Laaber, Germany: Laaber Verlag, 1990.
Schneider, Herbert. "Gluck and Lully." In Lully Studies, ed. John Hadju Heyer, 243-271. New York: Cambridge University Press, 2000.
Weber, William. "Lully and the Rise of Musical Classics in the 18th Century." In Jean-Baptiste Lully. Congress Report from the 1987 meeting in Heidelberg and Saint-Germain-en-Laye, ed. Jérôme de La Gorce and Herbert Schneider, 581-590. Laaber, Germany: Laaber Verlag, 1990.