Abstract
People heard the surname Rameau with some frequency in 2014, which marked the two hundred and fiftieth anniversary of the death of the composer and theorist Jean-Philippe Rameau (1683–1764). In classrooms and on radio broadcasts, a circumscribed set of associations comes to mind with each utterance of the name. Musicologists think of Rameau's discourses on triadic harmony and his theory of the fundamental bass (basse fondamentale). Keyboardists think of music composed by a literate organist and violinist from Dijon. Singers and dancers might also think of the many forays into choral music, ballet and opera that cemented Rameau's rise to artistic prominence during the French Enlightenment.
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