
Contents
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Book 1 (1656): Female Courtiers Book 1 (1656): Female Courtiers
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Book 2 (1658): Novitiates Book 2 (1658): Novitiates
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Book 3 (1662): Nuns Book 3 (1662): Nuns
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Reception and Evaluation Reception and Evaluation
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Conclusion Conclusion
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4 François Berthod’s Airs de dévotion for Honnêtes Femmes, Novitiates, and Nuns
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Published:February 2025
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Abstract
Chapter 4 focuses on François Berthod’s Airs de dévotion, which are contrafacta of mid-century airs sérieux. Each of three volumes represents three levels of devotion (low, intermediate, and high) and different functions: (1) female courtiers for their hours of recreation (1656); (2) young novitiates as part of their religious education, topics for meditation, and as vocal exercises (1658); and (3) nuns as topics for contemplation (1662). Although Berthod wrote all lyrics in keeping with the popular galant style, Book 1, in particular, represents a Christian version of honnêteté and galanterie, thus a morality of virtue and honorability mixed with a type of sociability involving good taste and wit. The chapter analyzes and compares the airs from all three volumes and addresses the controversy surrounding contrafacta: the belief that while singing the sacred contrafacta women would be thinking about its lascivious secular counterpart, the problems with the alignment of syllable lengths with rhythmic values, and conformity between musical and textual expression of the original tune and new lyrics.
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