French Cultural Politics and Music: From the Dreyfus Affair to the First World War

Overview

This book draws upon both musicology and cultural history to argue that French musical meanings and values from 1898 to 1914 are best explained not in terms of contemporary artistic movements but of the political culture.

During these years, France was undergoing many subtle yet profound political changes. Nationalist leagues forged new modes of political activity, as Jane F. Fulcher details in this important study, and thus the whole playing field of political action was ...

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French Cultural Politics and Music: From the Dreyfus Affair to the First World War

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Overview

This book draws upon both musicology and cultural history to argue that French musical meanings and values from 1898 to 1914 are best explained not in terms of contemporary artistic movements but of the political culture.

During these years, France was undergoing many subtle yet profound political changes. Nationalist leagues forged new modes of political activity, as Jane F. Fulcher details in this important study, and thus the whole playing field of political action was enlarged. Investigating this transitional period in light of several recent insights in the areas of French history, sociology, political anthropology, and literary theory, Fulcher shows how the new departures in cultural politics affected not only literature and the visual arts but also music. Having lost the battle of the Dreyfus affair (legally, at least), the nationalists set their sights on the art world, for they considered France's artistic achievements the ideal means for furthering their conception of "French identity." French Cultural Politics and Music: From the Dreyfus Affair to the First World War illustrates the ways in which the nationalists effectively targeted the music world for this purpose, employing critics, educational institutions, concert series, and lectures to disseminate their values by way of public and private discourses on French music. Fulcher then demonstrates how both the Republic and far Left responded to this challenge, using programs and institutions of their own to launch counterdiscourses on contemporary musical values.

Perhaps most importantly, this book fully explores the widespread influence of this politicized musical culture on such composers as d'Indy, Charpentier, Magnard, Debussy, and Satie. By viewing this fertile cultural milieu of clashing sociopolitical convictions against the broader background of aesthetic rivalry and opposition, this work addresses the changing notions of "tradition" in music—and of modernism itself. As Fulcher points out, it was the traditionalist faction, not the Impressionist one, that eventually triumphed in the French musical realm, as witnessed by their "defeat" of Stravinsky's Rite of Spring.

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Editorial Reviews

From the Publisher
"There is much to praise in Fulcher's book, which is well proportioned and includes some excellent summaries of obscure but important sources."—Notes

"...a study that deserves to become a standard reference for advanced students of the period."—Choice

"The interdisciplinary scope of Fulcher's project, the attempt to unravel political meanings from within musical form and content, and the attention to institutional history should excite interest among musicologists today."— Journal of the American Musicological Society

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Product Details

  • ISBN-13: 9780195120219
  • Publisher: Oxford University Press, USA
  • Publication date: 12/28/1998
  • Pages: 304
  • Lexile: 1570L (what's this?)
  • Product dimensions: 6.30 (w) x 9.30 (h) x 1.20 (d)

Meet the Author

Jane F. Fulcher is also the author of The Nation's Image: French Grand Opera as Politics and Politicized Art (1987), as well as numerous articles. She served as Visiting Professor at the Ecole des Hautes Etudes en Sciences Sociales in Paris in 1985 and again in 1995. She has been a Visiting Senior Research Fellow at the Centre National de la Recherche Scientifique (Paris) and a Research Fellow at the Institute for Advanced Study (Berlin), the National Endowment for the Humanities, and the American Council of Learned Societies. Fulcher earned a Ph.D. at Columbia University and is now Professor of Music at Indiana University.

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Table of Contents

Introduction 3
I The Battle Is Established: Musicians Enter, 1898-1905
1 The New "Cultural War" and the French Musical World 15
The Dreyfus Affair and French Musicians 15
D'Indy, Anti-Dreyfusism, and the Schola 24
The Republic's First Riposte: The 1900 Exposition and Music 35
Sources of Support for the Schola 48
The Battle over French Music History 56
Ideological Dialogue at the Ecole des Hautes Etudes Sociales 59
2 Creative and Professional Responses to the Politicization of Music 64
D'Indy's "Ideological Music," 64
Magnard's "Dreyfusard" Compositions 74
Charpentier's Louise: Its Political Uses and Critical Misreadings 77
The "Conservatoire Populaire de Mimi Pinson," 97
Politicization in Repertoire Choices, Subventions, and Journalism 103
II The Battle Escalates and Is Won, 1905-1914
3 Proliferating Factions, Issues, and Skirmishes 119
The Action Francaise and Music 120
French Socialist Initiatives in Music 126
The National-Socialist Musical Aesthetic 133
Cultural Politics in French Musical Journalism 136
Interlocked Battles over the "New Sorbonne" and the Paris Conservatoire 140
The Conservatoire's Response through Faure 143
New Counterattacks on the Schola 147
Politicization in the War of the "Chapelles," 153
Perceptions of the Conflicting Musical "Dogmas," 162
4 Responses of French Composers to the Traditionalist Victory in Politics and Music 169
Debussy's Nationalism 170
Satie's Creative Politics 194
Charpentier's Disillusionment and Politics 204
D'Indy's Triumph and His Enduring Obsessions 206
The Dilemma of the Independents: Magnard, Ravel, Ropartz, and Roussel 208
Final Attempts at a Reconciliation 213
Scholisme and the Musical Mainstream 214
The Last Skirmish: Le Sacre du printemps 216
Conclusion 221
Notes 227
Bibliography 265
Index 285
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