Between the early publications of Rameau and his late works – like the unpublished Art de la basse fondamentale (around 1740) and the Code de musique pratique (1760) –, the diversity of terminology in his own explanations is obvious. The later publications seem to be more speculative than the Traité de l’harmonie (1722), dealing with the art of accompaniment and composition. But in combination with several analyses, Rameau opens a new field in analysing music examples from older as well as contemporary composer colleagues. So he does in the Nouveau système (1727) where he analyses the famous recitative Enfin il est en ma puissance from Lully’s Armide (1686).