Panat in postcardThe Ranums'

Panat Times

Volume 1, redone Dec. 2014


Volume 1


Orest's Pages

Patricia's Musings



Musical Rhetoric

Transcribed Sources

Patricia's Pages on Musical Rhetoric in Volume 1

The pronunciation of French and Latin in seventeenth-century France

How was the vowel sound “OI” pronounced in seventeenth-century France?

La musique Françoise”: should it be pronounced like the woman’s name?

Scipion Dupleix and the pronunciation of “OI” (1651) (

More on "OI" and how it was pronounced by non-rustics, circa 1680: the abbess of Montmartre pronounced it like an “AI” — that is, “eh” (Factlet dated April 4, 2008) (

An addendum to my book on Jean Le Clerc and the pronunciation of French vulgar Latin (

French wind articulations as a mirror of spoken declamation

The French syllables tu and ru: why “veddy” is not a desirable substitute for “ru” (

Some further thoughts about the images of the vowels in French tonguing syllables (

Rhetoric in French Song and Instrumental Music

A glossary of “terms of movement” in French baroque music: introduction and table of contents (; plus the reasons why I compiled the glossary (

The Thésée project of Les Arts Florissants and the festival of Ambronnay (1998): my work as rhetorician (; plus my analysis of the rhetoric in two of Lully’s songs (

Rhetoric and expression in Lully’s French song (

A dot at the beginning of a musical measure: What did it mean for Marc-Antoine Charpentier? (

A dot at the beginning of a musical measure: What was their rhetorical significance for Elisabeth Jacquet de La Guerre? (

Marc-Antoine Charpentier, Jesuit rhetoric, the Journal de Trévoux, and the exercise known as “les Tons” (the Tones) (

Coaching handouts (

A supplement to the bibliography of my Harmonic Orator (

Vespucci: a sixteenth-century precursor of the French rhetoric I describe in my Harmonic Orator (

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