Jean-Philippe Rameau is today best known for his endeavours as a composer for the harpsichord, but in eighteenth-century France he was considered a real genius, due to the variety of his interests in acoustics, music theory, music pedagogy, and his success as a composer of diverse music genres. This study aims to highlight the connections between some works he authored over a fifteen-year period: on the one hand, Rameau’s treatises expressing his scientific thought, such as Traité, Nouveau système, and Génération harmonique, and, on the other, his musical works reflecting his music aesthetics, such as the Piéces de clavecin and the opera Castor et Pollux.