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When he argues that music is another language than speech, Michel-Paul-Guy de Chabanon (1730-1792) actually bestows independence and autonomy upon instrumental music, which can carry its own meaning and « sing » without vocal accompaniment. Chabanon’s experience as a violinist convinces him of the expressive power of sound, and it is a tragic poet and musician that he experiences the wonders with which he provides his shows. What, actually, is the art of the tragic musician based on ? On what foundations should he establish his collaboration with the poet ? By submitting his questioning to his aesthetic theories, the better to define theoretical rules and principles, this migrant from Santo Domingo to the metropolis asserts his participation in the evolution of French opera.

Migrations culturelles de l'histoire de la représentation aux XVIIIème et XIXème siècles en Europe
Ghyslaine Guertin
Faculté de musique, Université de Montréal
L'Europe musicale d'un migrant au siècle des Lumières