Music Criticism in France, 1918-1939

Authority, Advocacy, Legacy

Inbunden, Engelska, 2018

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This collection uncovers how music criticism contributed to national and transnational preoccupations and agendas.Music Criticism in France examines the aesthetic battles that animated and informed French musical criticism during the interwar period (1918-1939). Drawing upon a rich corpus of critical writings and archival documents, the book uncovers some of the public debates surrounding classical music in the immediate aftermath of the Great War until the eve of World War II. As such, it provides new insights into the priorities, values and challenges that affected the musical milieu of this war-bound generation.This collection of essays brings together scholars from different areas of musicology and related humanities disciplines; it also draws on different anglophone and francophone intellectual traditions. As well as considering the reception of individual works, the contributors examine key individuals, composer-critic pairings, the composer as critic and technician, the role of influential journals, and music criticism as a pedagogical tool for concert-going and radio audiences.Focusing on the themes of authority, advocacy and legacy, it shows the contribution of principal critics such as Vuillermoz, Vallas, Prunières, Schloezer and Koechlin to shaping our understanding of music in the first half of the twentieth century in France. We see how criticism contributes to national and transnational preoccupations and agendas, which were of considerable importance throughout the interwar period and continue to have relevance today.BARBARA L. KELLY is Director of Research and Professor of Musicology at the Royal Northern College of Music, Manchester. CHRISTOPHER MOORE is Associate Professor of Musicology at the University of Ottawa. Contributors: PHILIPPE CATHÉ, MICHEL DUCHESNEAU, KIMBERLY FRANCIS, JACINTHE HARBEC, BARBARA L. KELLY, PASCAL LÉCROART, CHRISTOPHER MOORE, RACHEL MOORE, JANN PASLER, CAROLINE RAE, DANICK TROTTIER, MARIANNE WHEELDON

Produktinformation

Utgivningsdatum2018-06-15
Mått156 x 234 x 24 mm
Vikt674 g
FormatInbunden
SpråkEngelska
Antal sidor358
FörlagBoydell & Brewer Ltd
ISBN9781783272518

Tillhör följande kategorier

Klassisk musik, konstmusik och orkestermusik inom Kultur
Musikböcker inom Kultur

BARBARA L. KELLY is Professor of Music, University of Leeds BARBARA L. KELLY is Professor of Music, University of Leeds KIMBERLY FRANCIS is an associate professor of music at the University of Guelph, Canada. CAROLINE RAE is Professor of Music at Cardiff University, UK. RACHEL MOORE is Lecturer in Music, Cardiff University. DANICK TROTTIER is Professor of Music at the Université du Québec à Montréal, Canada.

Introduction: The Role of Criticism in Interwar Musical Culture - Christopher Moore and Barbara L. KellyMusic Criticism and Aesthetics during the Interwar Period: Fewer Crimes and More Punishments - Michel DuchesneauNostalgia and Violence in the Music Criticism of L'Action française - Christopher MooreCharles Koechlin: The Figure of the Expert - Philippe CathéBleu-horizon Politics and Music for Radio Listeners: L'Initiation à la musique (1935) - Jann PaslerCommon Canon, Conflicting Ideologies: Music Criticism in Performance in Interwar France - Barbara L. KellyArthur Honegger: Music Critic for Musique et Théâtre (1925-1926) - Pascal LécroartA Woman's Critical Voice: Nadia Boulanger and Le Monde musical, 1919-1923 - Kimberly FrancisFrom a Foreign Correspondent: the Parisian Chronicles of Alejo Carpentier - Caroline RaeDebussy's 'Reputational Entrepreneurs': Vuillermoz, Koechlin, Laloy, and Vallas - Marianne WheeldonThe Legacy of War: Conceptualising Wartime Musical Life in the Post-War Musical Press, 1919-1920 - Rachel MooreJacinthe Harbec, Satie, Relâche and the Press: Controversies and Legacy - Jacinthe HarbecCreating a Canon: Émile Vuillermoz's Musiques d'aujourd'hui and French Musical Modernity - Danick TrottierBibliography

[T]he first detailed study of its kind . . . . Ultimately, what emerges from [this book] is not only a thought-provoking and highly variegated impression of the roles and activities of French music criticism in the 1920s and 30s but also a clear sense of the importance of the study of the discourse of music criticism within musicology that is also part of a broader context of sociopolitical and cultural history.