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Lully’s and Quinault’s tragedie en musique raises the question of the linkages and coordination between two creative processes in this unique genre. On the one hand, music derives its legitimacy to a large extent from poetry. On the other, a metrical and musical analysis expanding on the account of Le Cerf de la Vieville demonstrates a range of particularities in the structuring of poetry in these works, which at times adapts to pre-existing music, and more frequently anticipates it. Mise en musique , the setting of words to music, is generally in line with poetic dynamics. However, the use of its own means allows it to introduce additional semantic content, marking the strengthening of its autonomy within the artistic system.

Musicalité de la parole, mise en musique du texte. Fonctions de la ‹ poésie musicale › et de sa mise en musique dans la tragédie en musique