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Author: Barbara L. Kelly Publisher: Boydell & Brewer Ltd ISBN: 1843838109 Category : Music Languages : en Pages : 272
Book Description
Exploring the ideas of consensus, resistance and rupture, this book contributes an important and nuanced reflection to the current debate on modernism in music.
Author: Barbara L. Kelly Publisher: Boydell & Brewer Ltd ISBN: 1843838109 Category : Music Languages : en Pages : 272
Book Description
Exploring the ideas of consensus, resistance and rupture, this book contributes an important and nuanced reflection to the current debate on modernism in music.
Author: Helen Julia Minors Publisher: Routledge ISBN: 1351331094 Category : Music Languages : en Pages : 243
Book Description
This book appraises the contribution of Paul Dukas (1865–1935) to a wide variety of French musical practices. As a composer, critic, artistic collaborator and teacher, Dukas was central to the fin de siècle and early twentieth-century Paris musical scene (and more broadly to the French scene). Significantly, his compositional style mediated tradition through the modern language of his present, while his critical writings pioneered a new mode of musical discourse in the French press. Of further interest are Dukas’s professional relationships with iconic figures such as Gabriel Fauré and Claude Debussy, and his role in fostering the next generation of French composers. In addition to mentoring famous names such as Olivier Messiaen and Tony Aubin, he staunchly supported his female students, notably Elsa Barraine, Claude Arrieu and Yvonne Desportes. This unique essay collection offers a panoramic perspective on a comparatively neglected French musician. Paul Dukas: Legacies of a French Musician traces two aspects of his work: Part I treats Dukas as a composer, thinker and artistic collaborator; Part II constructs his intellectual legacy as seen in his creative and pedagogic endeavours. This book is essential reading for anyone interested in fin de siècle and early twentieth-century French music, women in French music, music criticism and composition education in the Paris Conservatoire.
Author: Michael F. Leruth Publisher: Bloomsbury Publishing USA ISBN: 1440855498 Category : Social Science Languages : en Pages : 540
Book Description
This volume offers perspective on modern French society and culture through thematic chapters on topics ranging from geography to popular culture. Ideal for students and general readers, this book includes insightful, current information about France's past, present, and future. France is the country most visited by international tourists. Aside from clichéd images of baguettes and the Eiffel Tower, however, what is French society and culture really like? Modern France is organized into thematic chapters covering the full range of French history and contemporary daily life. Chapter topics include: geography; history; government and politics; economy; religion and thought; social classes and ethnicity; gender, marriage, and sexuality; education; language; etiquette; literature and drama; art and architecture; music and dance; food; leisure and sports; and media and popular culture. Each chapter contains an overview of the topic and alphabetized entries on examples of each theme. A detailed historical timeline covers prehistoric times to the presidency of Emmanuel Macron. Special appendices offer profiles of a typical day in the life of representative members of French society, a glossary, key facts and figures about France, and a holiday chart. The volume will be useful for readers looking for specific topical information and for those who want to develop an informed perspective on aspects of modern France.
Author: Deborah Mawer Publisher: Routledge ISBN: 1317121805 Category : Music Languages : en Pages : 439
Book Description
This edited volume of case studies presents a selective history of French music and culture, but one with a dynamic difference. Eschewing a traditional chronological account, the book explores the nature of relationships between one main period, broadly the 'long' modernist era between 1860–1960, and its own historical ‘others’, referencing topics from the Romantic, classical, baroque, renaissance and medieval periods. It probes the emergent interplay, intertextualities and scope for reinterpretation across time and place. Notions of cultural meaning are paramount, especially those pertaining to French identity, national and individual. While founded on historical musicology, the approach benefits from interdisciplinary association with philosophy, political history, literature, fine art, film studies and criticism. Attention is paid to French composers’ celebrations and remakings of their predecessors. Editions of and writings about earlier music are examined, together with the cultural reception of performances of past repertoire. Organized into two parts, each of the eleven chapters characterizes a specific cultural network or temporal interplay, which may result in synthesis, disjunction, or historical misreading. The interwar years and those surrounding the Second World War prove particularly rich sources of enquiry. This volume aims to attract a wide readership of musicologists and musicians, as well as cultural historians, other humanities scholars and concert-goers.
Author: Deborah Mawer Publisher: Cambridge University Press ISBN: 1316194612 Category : Music Languages : en Pages : 321
Book Description
French concert music and jazz often enjoyed a special creative exchange across the period 1900–65. French modernist composers were particularly receptive to early African-American jazz during the interwar years, and American jazz musicians, especially those concerned with modal jazz in the 1950s and early 1960s, exhibited a distinct affinity with French musical impressionism. However, despite a general, if contested, interest in the cultural interplay of classical music and jazz, few writers have probed the specific French music-jazz relationship in depth. In this book, Deborah Mawer sets such musical interplay within its historical-cultural and critical-analytical contexts, offering a detailed yet accessible account of both French and American perspectives. Blending intertextuality with more precise borrowing techniques, Mawer presents case studies on the musical interactions of a wide range of composers and performers, including Debussy, Satie, Milhaud, Ravel, Jack Hylton, George Russell, Bill Evans and Dave Brubeck.
Author: Louis K. Epstein Publisher: Boydell & Brewer ISBN: 178327669X Category : Music Languages : en Pages : 256
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: Hannah Lewis Publisher: Oxford University Press ISBN: 0190636009 Category : Music Languages : en Pages : 267
Book Description
The transition from silent to synchronized sound film was one of the most dramatic transformations in cinema's history, as it radically changed the technology, practices, and aesthetics of filmmaking within a few short years. In France, debates about sound cinema were fierce and widespread. In French Musical Culture and the Coming of Sound Cinema, author Hannah Lewis argues that the debates about sound film resonated deeply within French musical culture of the early 1930s, and conversely, that discourses surrounding a range of French musical styles and genres shaped audiovisual cinematic experiments during the transition to sound. Lewis' book focuses on many of the most prominent directors and screenwriters of the period, from Luis Buñuel to Jean Vigo, as well as experiments found in lesser-known films. Additionally, Lewis examines how early sound film portrayed the diverse soundscape of early 1930s France, as filmmakers drew from the music hall, popular chanson, modernist composition, opera and operetta, and explored the importance of musical machines to depict and to shape French audiovisual culture. In this light, the author discusses the contributions of well-known composers for film alongside more popular music hall styles, all of which had a voice within the heterogeneous soundtrack of French sound cinema. By delving into this fascinating developmental period of French cinematic history, Lewis encourages readers to challenge commonly-held assumptions about how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.
Author: Simon Trezise Publisher: Cambridge University Press ISBN: 1316239616 Category : Music Languages : en Pages : 441
Book Description
France has a long and rich music history that has had a far-reaching impact upon music and cultures around the world. This accessible Companion provides a comprehensive introduction to the music of France. With chapters on a range of music genres, internationally renowned authors survey music-making from the early middle ages to the present day. The first part provides a complete chronological history structured around key historical events. The second part considers opera and ballet and their institutions and works, and the third part explores traditional and popular music. In the final part, contributors analyse five themes and topics, including the early church and its institutions, manuscript sources, the musical aesthetics of the Siècle des Lumières, and music at the court during the ancien régime. Illustrated with photographs and music examples, this book will be essential reading for both students and music lovers.
Author: Timothy Mathews Publisher: UCL Press ISBN: 1787351513 Category : Literary Criticism Languages : en Pages : 186
Book Description
The Modernist Bestiary centres on Le Bestiaire ou Cortège d’Orphée (1911), a multimedia collaborative work by French-Polish poet Guillaume Apollinaire and French artist Raoul Dufy, and its homonym, The Bestiary or Procession of Orpheus (1979), by British artist Graham Sutherland. Rather than reconstructing the lineage of these two compositions, the book uncovers the aesthetic and intellectual processes involved that operate in different times, places and media. The Apollinaire and Dufy Bestiary is an open-ended collaboration, a feature that Sutherland develops in his re-visiting, and this book shows how these neglected works are caught up in many-faceted networks of traditions and genres. These include Orphic poetry from the past, contemporary musical settings, and bestiary writing from its origins to the present. The nature of productive dialogue between thought and art, and the refracted light they throw on each other are explored in each of the pieces in the book, and the aesthetic experience emerges as generative rather than reductive or complacent. The contributors’ encounters with these works take the form of poetry and essays, all moving freely between different disciplines and practices, humanistic and posthumanist critical dimensions, as well as different animals and art forms. They draw on disciplines ranging from music, art history, translation, Classical poetry and French poetry, and are nurtured by approaches including phenomenology, cultural studies, sound studies, and critical animal studies. Collectively the book shows that the aesthetic encounter, by nature affective, is by nature also interdisciplinary and motivating, and that it spurs the critical in addressing the complex issues of 'humananimality'.
Author: Barbara L. Kelly
Author: Barbara L. Kelly
Author: Helen Julia Minors
Author: Michael F. Leruth
Author: Deborah Mawer
Author: Deborah Mawer
Author: Louis K. Epstein
Author: Hannah Lewis
Author: Simon Trezise
Author: Timothy Mathews
Author: