Among these is who is considered the patriarch of Russian geography: Mikhail Lomonosov who in the mid-1750s began working in the Department of Geography, Academy of Sciences to conduct research in Siberia, their contributions are notable in this regard, shows the soil organic origin, develops a comprehensive law on the movement of the ice that still governs the basics, thereby founding a new branch of Geography: Glaciology.

The first three-masted ( i. e. " ship rigged ") sloops appeared during the 1740s, and from the mid-1750s most new sloops were built with a three-masted ( ship ) rig.

By the mid-1750s, she was living in Newbury in Berkshire.

In the mid-1750s he immigrated to Philadelphia where his father soon died.

Grose had early shown a keen interest in drawing, having attempted sketches of medieval buildings as far back as 1749, and having taken formal instruction at a drawing school in the mid-1750s.

The Blazing Star Burial Ground, an abandoned cemetery dating from the mid-1750s, can be found just off Arthur Kill Road, north of Rossville Avenue.

Stevens probably began playing in great matches around the mid-1750s at a time when bowlers still bowled ( i. e., trundled ) the ball all along the ground, as in crown green bowls.

Couperin and Rameau gave titles to nearly everything they wrote, not in the later sense of `` program music '' but as a kind of nonmusical reference for the close, clear musical forms filled with keen wit and precise utterance.

On February 25, 1726, Rameau married the 19-year-old Marie-Louise Mangot, who came from a musical family from Lyon and was a good singer and instrumentalist.

Meanwhile, Rameau had introduced his new musical style into the lighter genre of the opéra-ballet with the highly successful Les Indes galantes.

He had written an opera, Les muses galantes ( inspired by Rameau's Indes galantes ), but Rameau was unimpressed by this musical tribute.

He was possibly the most famous music theorist between Aristoxenus and Rameau, and made a large contribution to the theory of counterpoint as well as to musical tuning.

Boismortier and Rameau both lived during the Rococo era of Louis XV and upheld the French tradition, composing music of beauty and sophistication that was widely appreciated by the French musical public

He has written several books which deal with musical phenomenology, especially on the symbolic forms of music ( 1984 ), on the great musical topics ( 1994 ), on musical aesthetics ( 2000 ), as well as on musical theory, among them the first French reissue of Rameau ’ s Traité d ' harmonie of 1722, a project supported by the Fondation Singer-Polignac in 1986, and in 1996 Rameau ’ s Nouveau système de musique théorique of 1726.

Jean Philippe Rameau, a prominent opera composer, wrote an influential treatise on musical theory, especially in the subject of harmony ; he also introduced the clarinet into his orchestras.

Diderot is also known as the author of the dialogue, Le Neveu de Rameau ( Rameau's Nephew ), upon which many articles and sermons about consumer desire have been based.

In the controversy that followed, critics such as Jean-Jacques Rousseau and Friedrich Melchior Grimm, together with other writers associated with the Encyclopédie, praised Italian opera buffa and attacked the styles French lyric tragedy, a style originated by Jean-Baptiste Lully and promoted among then-living composers such as French composer Jean-Philippe Rameau.

It was not until he was approaching 50 that Rameau decided to embark on the operatic career on which his fame as a composer mainly rests.

In 1731, Rameau became the conductor of La Pouplinière's private orchestra, which was of an extremely high quality.

The incomprehension he received from his contemporaries stopped Rameau from repeating such daring experiments as the second Trio des Parques in Hippolyte et Aricie, which he was forced to remove after a handful of performances because the singers had been either unable or unwilling to render it correctly.

* Dance music: the danced interludes, which were obligatory even in tragédie en musique, allowed Rameau to give free rein to his inimitable sense of rhythm, melody, and choreography, acknowledged by all his contemporaries, including the dancers themselves.

In 1739 the Society of the Caveau, which numbered among its members Helvétius, Charles Pinot Duclos, Pierre Joseph Bernard, called Gentil-Bernard, Jean-Philippe Rameau, Alexis Piron, and the two Crébillons, was dissolved, and was not reconstituted till twenty years afterwards.

Janin travelled ( picking up in one of his journeys a country house at Lucca in a lottery ), and wrote accounts of his travels ; he wrote numerous tales and novels, and composed many other works, including Fin d ' un monde et du neveu de Rameau ( 1861 ), in which, under the guise of a sequel to Diderot's work, he showed his familiarity with the late 18th century.

Other important transcriptions by Godowsky include Renaissance ( 1906 – 9 ), a collection which includes arrangements of music by Rameau and Lully, 12 Schubert Songs ( 1927 ), and six transcriptions of Bach's music for solo cello and solo violin, arranged for the same instruments, but with complementary voices, etc.

Members of the pro-Italian faction, such as the philosopher and musician Jean-Jacques Rousseau, attacked serious French opera, represented by the tragédies en musique of Jean-Philippe Rameau, in favour of what they saw as the simplicity and " naturalness " of Italian comic opera ( opera buffa ), exemplified by Pergolesi's La serva padrona, which had recently been performed in Paris by a travelling Italian troupe.

He contributed to the emergence of the distinctively French genres of lyric tragedy and opera-ballet but his jealousy of the rising star of Jean-Philippe Rameau led to the bitterness and madness in which he ended his days:

When it was performed in Paris in 1752, it prompted the so-called Querelle des Bouffons (" quarrel of the comic actors ") between supporters of serious French opera by the likes of Jean-Baptiste Lully and Jean-Philippe Rameau and supporters of new Italian comic opera.

Rousseau as noted above, was an enthusiastic supporter of the Italians against Jean-Philippe Rameau and others, making an important contribution with his Letter on French Music.

They show the influence of Rameau, but simplified and with greater focus on the drama.

Certain aspects of his music can be considered to belong to the tradition of 18th-century French classicism beginning with Couperin and Rameau as in Le Tombeau de Couperin.

Lockspeiser describes the Rameau Variations as more developed and assured ... Dukas infuses the conventional form with a new and powerful spirit.

In 1920, Vincent d ' Indy published a study of Dukas's music ; Debussy remained a lifelong friend, though feeling that Dukas's music was not French enough ; Saint-Saëns worked with Dukas to complete an unfinished opera by Guiraud, and they were both engaged in the rediscovery and editing of the works of Jean-Philippe Rameau ; Fauré dedicated his Second Piano Quintet to Dukas in 1921.

La Pouplinière's salon enabled Rameau to meet some of the leading cultural figures of the day, including Voltaire, who soon began collaborating with the composer.

Rameau produced his most important comic opera, Platée, as well as two collaborations with Voltaire: the opéra-ballet Le temple de la gloire and the comédie-ballet La princesse de Navarre.

At the end of 1745, Voltaire and Rameau, who were busy on other works, commissioned Rousseau to turn La Princesse de Navarre into a new opera, with linking recitative called Les fêtes de Ramire.

This time, Rameau was accused of being out of date and his music too complicated in comparison with the simplicity and " naturalness " of a work like Pergolesi's La serva padrona.

Nevertheless, it is not solely addressed to the intelligence, and Rameau himself claimed, " I try to conceal art with art.

Only four motets have been attributed to Rameau with any certainty: Deus noster refugium, In convertendo, Quam dilecta, and Laboravi.

Along with François Couperin, Rameau is one of the two masters of the French school of harpsichord music in the 18th century.

* Choruses: Padre Martini, the erudite musicologist who corresponded with Rameau, affirmed that " the French are excellent at choruses ," obviously thinking of Rameau himself.

A great master of harmony, Rameau knew how to compose sumptuous choruses — whether monodic, polyphonic, or interspersed with passages for solo singers or the orchestra — and whatever feelings needed to be expressed.

Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice.

Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate.