The Composer As Intellectual : Music and Ideology in France, 1914-1940.

In The Composer as Intellectual, musicologist Jane Fulcher reveals the extent to which leading French composers between the World Wars were not only aware of but also engaged intellectually and creatively with the central political and ideological issues of the period. Employing recentsociological a...

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Bibliographic Details
Author / Creator: Fulcher, Jane F.
Format: eBook Electronic
Language:English
Imprint: Cary : Oxford University Press, Incorporated, 2005.
Subjects:
Local Note:Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2022. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
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245 1 4 |a The Composer As Intellectual :  |b Music and Ideology in France, 1914-1940. 
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505 0 |a Intro -- Contents -- Introduction -- The Artist as Intellectual? -- The Composer, Public Issues, and Symbols -- The Political and Symbolic Background -- The State, National Symbols, and the Dialogue -- Two Histories and Their Intersection -- 1: Wartime Nationalism, Classicism, and Their Limits -- Part 1: State Hegemony and Musical Culture: Institutions and Propaganda -- French Identity and the Classic Myth -- The Myth and Music in Wartime -- Imagining the French Community through Opera -- Defining the "Classic Masters" in Concerts -- "Defending" French Music and Its "Purity" -- Professional Interests versus Cultural Politics -- The Orthodox Discourse and Its Boundaries -- Wartime Ideology and Musicology -- French Editors, the Canon, and the Classics -- Resistance to the War and Its Culture -- Part 2: Intellectual and Creative Responses -- How to Defend "la Musique Française" -- Nationalist Orthodoxy: D'Indy versus Saint-Saëns -- Charpentier's Double-Voiced Schemes -- Debussy's Dialogue with Orthodoxy -- Ravel's Inflections of Tradition: The Tombeau -- Satie's Subversions: Language and the Dialogic in Parade -- The Birth of the "Next Generation" -- 2: The National or Universal in the Twenties -- Part 1: Conservative Hegemony and Political-Cultural Conflict -- Memory and the Nationalists' Agenda -- Commemoration, Spiritualism, and the Classic in Music -- Political and Symbolic Confrontations -- Consecration, Concerts, and the Orientation of Taste -- The Opera of Conservative Ideas -- Reclassifications in Scholarship and Criticism -- New Goals in French Musical Education -- The Complex Case of Nadia Boulanger -- Forging the French Image Abroad -- Cultural Responses of the Far Right and Left -- Politics through Culture -- The Action Française and "Intelligence" -- The "Schola d'Action Française" -- The Left: Universalism and the "Classic". 
505 8 |a Syndicalism, Music, and the Fêtes du Peuple -- Part 2: French Composers as Intellectuals and the Issues -- The Older Generation and Its Choices -- D'Indy: Innovation versus Dogma -- Ravel: Reasserting the Universal and the Modern -- Satie and Leftist Individualism: Socrate -- The Adversative Modernism of Youth -- Wiéner's Challenge through Repertoire -- The Generation of 1914 in Music -- The Counterculture and Its Supporters -- Cocteau: Protecting Modernism with Nationalism -- Collet and the Myth of Les Six -- Legitimizing Modernity through Tradition: Boulanger and Stravinsky -- Les Six and Neoclassicism: Reality versus Myth -- Auric: The National or the Universal? -- Milhaud and the Transcendent Collectivity -- Honegger and the Dilemma of the "National" -- Poulenc: Modernity and Tradition -- Durey: Aesthetic and Political Integrity -- Tailleferre and Dual Marginality -- Nationalism, Xenophobia, and Revenge on "the Modern" -- 3: The "Defense" of French Culture in the Thirties -- Part 1: The Popular Front: Culture as Politics -- Programs and Ideals of the Government -- Antifascism and the Politics of the Spectacle -- The Political and Cultural Background -- The New Role of French Left Intellectuals -- The Ideology of Culture in 1936 -- Themes, Myths, and Programs of the Popular Front -- Redirecting French Musical Culture -- French Musicians as Intellectuals of the Left -- Roussel and the Fédération Musicale Populaire -- Koechlin: Style and Ideological Investment -- The "Defense" of Musical Culture -- Attacks on Tradition and "la Grande Musique" -- The Influence of Romain Rolland -- Les Six as Cultural Advisors -- Aesthetics, Style, and "Engagement" -- Le 14 juillet: Politics and Representation -- Performance and Ideology: The 1937 Exposition -- Part 2: Political and Symbolic Challenges to the Government. 
505 8 |a The Conservative and Profascist "Defense" of Culture -- Political Dissension and the Symbolic Battle -- Profascist and Romantic Currents -- The Oppositional Musical Aesthetic -- The Return of "d'Indysme" and "Wagnerisme" -- Attacks on Government Programs and on Les Six -- Ideological Constructions of Ravel -- Other Composers Appropriated -- Political Tensions with the Government among Composers -- Poulenc and Sauguet: Political and Aesthetic Resistance -- The Case of Poulenc's Litanies à la vierge noire -- Honegger's Aesthetic and Political "Nonconformism" -- From Jeanne au bûcher to Frontisme -- 4: The Return to Spirit -- Part 1: Redefinitions of Symbolic Legitimacy -- The Decline of a Politics and an Aesthetics -- Reconstruction of Ravel and the Context -- Delegitimizing Musical Neoclassicism -- Revalorizing Tradition and "Spirit" -- Reclassification of Genres -- Part 2: The Search for "Oppositionality" -- French Youth and "Revolutionary Spiritualism" -- The Nonconformist Movement and Its Impact -- Leftist Spiritualism and Youth, -- The Conservative Catholic Avant-Garde -- Music in Nonconformist Journals -- Nonconformism and Musical Innovation: Recontextualizing Jeune France -- The Framing Manifesto and Its Discourse -- The Choice of Intellectual Sponsors -- Beyond Modernism: Olivier Messiaen -- Beyond "Orientalism" to the Cosmic: André Jolivet -- Critical Readings on the Right and the Left -- Part 3: Seeds of the Vichy and Resistance Aesthetics -- Redefining "Frenchness" in Music -- Jeanne au bûcher in 1939 -- Resistance Despite the Odds -- Conclusion -- The Subtle Symbolic Dialogue and Its Impact -- The Convergence of French Music and Politics -- From Political Utterance and Discourse Back to "Text" -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Z. 
520 |a In The Composer as Intellectual, musicologist Jane Fulcher reveals the extent to which leading French composers between the World Wars were not only aware of but also engaged intellectually and creatively with the central political and ideological issues of the period. Employing recentsociological and historical insights, she demonstrates the extent to which composers, particularly those in Paris since the Dreyfus Affair, considered themselves and were considered to be intellectuals, and interacted closely with intellectuals in other fields. Their consciousness raised by theFirst World War and the xenophobic nationalism of official culture, some joined parties or movements, allying themselves with and propagating different sets of cultural and political-social goals.Fulcher shows how these composers furthered their ideals through the specific language and means of their art, rejecting the dominant cultural exclusions or constraints of conservative postwar institutions and creatively translating their cultural values into terms of form and style. This was notonly the case with Debussy in wartime, but with Ravel in the twenties, when he became a socialist and unequivocally refused to espouse a narrow, exclusionary nationalism. It was also the case with the group called Les Six, who responded culturally in the twenties and then politically in thethirties, when most of them supported the programs of the Popular Front. Others could not be enthusiastic about the latter and, largely excluded from official culture, sought out more compatible movements or returned to the Catholic Church. Like many French Catholics, they faced the crisis ofCatholicism in the thirties when the church not only supported Franco, but Mussolini's imperialistic aggression in Ethiopia. While Poulenc embraced traditional Catholicism, Messiaen turned to more progressive Catholic 
520 8 |a movements that embraced modern art and insisted that religion must cross nationaland racial boundaries.Fulcher demonstrates how closely music had become a field of clashing ideologies in this period. She shows also how certain French composers responded, and how their responses influenced specific aspects of their professional and stylistic development. She thus argues that, from this perspective, wecan not only better understand specific aspects of the stylistic evolution of these composers, but also perceive the role that their art played in the ideological battles and in heightening cultural-political awareness of their time. 
588 |a Description based on publisher supplied metadata and other sources. 
590 |a Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2022. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.  
650 0 |a Music -- France -- 20th century -- History and criticism. 
650 0 |a Composers -- France. 
650 0 |a Music -- Social aspects -- France. 
650 0 |a Music -- Political aspects -- France. 
655 4 |a Electronic books. 
776 0 8 |i Print version:  |a Fulcher, Jane F.  |t The Composer As Intellectual  |d Cary : Oxford University Press, Incorporated,c2005  |z 9780195174731 
797 2 |a ProQuest (Firm) 
856 4 0 |u https://ebookcentral.proquest.com/lib/well/detail.action?docID=272851  |z Click to View