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Author: Katharine Ellis
Publisher: Oxford University Press
ISBN: 0197600182
Category : Music
Languages : en
Pages : 445
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Book Description
Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative history-writing articulated by the capital's opera and concert life. Regional practices have been ignored, disparaged or treated piecemeal. This book is a study of French musical centralization and its discontents during the period leading up to and beyond the "provincial awakening" of the Belle ?poque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so it redraws the historical map of musical power relations in mainland France. Based on work in over 70 archives, chapters on conservatoires, concert life, stage music, folk music and composition reveal how tensions of State and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different communities, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into "local color" for officials who perpetually feared national division. Control over composition on the one hand, and the emotional intensity of folk-based musical experience on the other, emerges as a matter of consistent official praxis. In terms of "French music" and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.
Author: Katharine Ellis
Publisher: Oxford University Press
ISBN: 0197600182
Category : Music
Languages : en
Pages : 445
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Book Description
Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative history-writing articulated by the capital's opera and concert life. Regional practices have been ignored, disparaged or treated piecemeal. This book is a study of French musical centralization and its discontents during the period leading up to and beyond the "provincial awakening" of the Belle ?poque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so it redraws the historical map of musical power relations in mainland France. Based on work in over 70 archives, chapters on conservatoires, concert life, stage music, folk music and composition reveal how tensions of State and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different communities, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into "local color" for officials who perpetually feared national division. Control over composition on the one hand, and the emotional intensity of folk-based musical experience on the other, emerges as a matter of consistent official praxis. In terms of "French music" and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.
Author: Katharine Ellis
Publisher: Oxford University Press
ISBN: 0197600166
Category : Music
Languages : en
Pages : 445
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Book Description
Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative history-writing articulated by the capital's opera and concert life. Regional practices have been ignored, disparaged or treated piecemeal. This book is a study of French musical centralization and its discontents during the period leading up to and beyond the "provincial awakening" of the Belle Époque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so it redraws the historical map of musical power relations in mainland France. Based on work in over 70 archives, chapters on conservatoires, concert life, stage music, folk music and composition reveal how tensions of State and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different communities, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into "local color" for officials who perpetually feared national division. Control over composition on the one hand, and the emotional intensity of folk-based musical experience on the other, emerges as a matter of consistent official praxis. In terms of "French music" and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.
Author: Cecilia Dunoyer
Publisher: Indiana University Press
ISBN: 9780253318398
Category : Biography & Autobiography
Languages : en
Pages : 268
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Book Description
"Cecilia Dunoyer has written a thoughtful and carefully researched work. Not only is her book crammed with information on French music, performers, and composers, it also is highly readable." --Piano & Keyboard "Cecilia Dunoyer's new book presents an engaging portrait of the woman once esteemed as the grande dame of French music." --Notes "It is a fascinating story from beginning to end... " --American Music Teacher "Dunoyer's thorough, accurate, well-written biography is the first of this important artist and, as such, worthy of many a music library's attention." --Booklist Marguerite Long, the most important French woman pianist of our century, left her stamp on a whole epoch of musical life in Paris. Long was a virtuoso performer--working closely with Debussy, Faur , and Ravel--and a tireless and demanding pedagogue. With violinist Jacques Thibaud, she founded a prestigious international competition that continues to launch the careers of young musicians. Illustrated.
Author: Rachel Moore
Publisher: Music in Society and Culture
ISBN: 9781783271887
Category : Music
Languages : en
Pages : 256
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Book Description
In the First World War, civilian life played a fundamental part in the war effort; and music was no exception.
Author: Richard Langham Smith
Publisher: Ashgate Publishing, Ltd.
ISBN: 9780754602828
Category : Music
Languages : en
Pages : 404
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Book Description
French Music Since Berlioz explores key developments in French classical music during the nineteenth and twentieth centuries. The volume draws on the expertise of a range of French music scholars who provide their own perspectives on particular aspects of the subject. Aimed at teachers and students of French music history, it is an essential companion for anyone interested in the field.
Author: Louis K. Epstein
Publisher: Boydell & Brewer
ISBN: 178327669X
Category : Music
Languages : en
Pages : 256
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Book Description
Challenges the longstanding perception that modernist composers made art, not money, and that those who made money somehow failed to make art.Patrons have long appeared as colorful, exceptional figures in music history, but this book recasts patrons and patronage as creative forces that shaped the sounds and meanings of new French music between the world wars. Far from mere sources of funding, early twentieth-century patrons collaborated closely with composers, treating commissions for new music as opportunities to express their own artistry. Patrons developed new pathways to participate in music-making, going beyond commissions to establish ballet companies, manage performance venues, and establish state programs. The impressive variety of patronage activities led to an explosion of new music as well as new styles and -isms, indelibly marking the repertoire that this book examines, including a number of pieces frequently heard in concert halls today. In addition to offering new perspectives on well-known French repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.nch repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.nch repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.nch repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons. as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.
Author: University of London Katharine Ellis Reader in Music Royal Holloway
Publisher: Oxford University Press, USA
ISBN: 0199710856
Category : Music
Languages : en
Pages : 322
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Book Description
This study of the French early music revival gives us a vivid sense of how music's cultural meanings were contested in the nineteenth century. It surveys the main patterns of revivalist activity while also providing in-depth studies of repertories stretching from Adam de la Halle to Rameau.
Author:
Publisher:
ISBN:
Category : Transportation, Automotive
Languages : en
Pages : 38
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Book Description
Author: Jean-Michel Nectoux
Publisher: Cambridge University Press
ISBN: 9780521616959
Category : Biography & Autobiography
Languages : en
Pages : 680
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Book Description
This book traces Fauré's life and the rich cultural milieu in which he lived and worked.
Author: William Weber
Publisher: Boydell & Brewer
ISBN: 1648250165
Category : History
Languages : en
Pages : 328
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Book Description
A bold application of the concept of canonical works to the development of French operatic and concert life in the eighteenth and nineteenth centuries.
