French Cultural Politics and Music: From the Dreyfus Affair by Jane F. Fulcher

By Jane F. Fulcher

This publication attracts upon either musicology and cultural background to argue that French musical meanings and values from 1898 to 1914 are top defined no longer by way of modern inventive events yet of the political culture.

During those years, France was once present process many refined but profound political adjustments. Nationalist leagues solid new modes of political task, as Jane F. Fulcher info during this vital research, and hence the full taking part in box of political motion used to be enlarged. Investigating this transitional interval in mild of a number of fresh insights within the parts of French background, sociology, political anthropology, and literary concept, Fulcher exhibits how the recent departures in cultural politics affected not just literature and the visible arts but in addition track. Having misplaced the conflict of the Dreyfus affair (legally, at least), the nationalists set their attractions at the artwork global, for they thought of France’s inventive achievements the fitting potential for furthering their notion of “French identity.” French Cultural Politics and song: From the Dreyfus Affair to the 1st international battle illustrates the ways that the nationalists successfully unique the song international for this function, utilising critics, academic associations, live performance sequence, and lectures to disseminate their values when it comes to private and non-private discourses on French song. Fulcher then demonstrates how either the Republic and much Left spoke back to this problem, utilizing courses and associations in their personal to release counterdiscourses on modern musical values.

Perhaps most significantly, this publication totally explores the common impact of this politicized musical tradition on such composers as d’Indy, Charpentier, Magnard, Debussy, and Satie. by way of viewing this fertile cultural milieu of clashing sociopolitical convictions opposed to the wider heritage of aesthetic competition and competition, this paintings addresses the altering notions of “tradition” in music–and of modernism itself. As Fulcher issues out, it used to be the traditionalist faction, no longer the Impressionist one, that finally triumphed within the French musical realm, as witnessed through their “defeat” of Stravinsky’s ceremony of Spring.

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During the war d'Indy had been introduced to Franck himself, an event that was to have a momentous impact on both his life and his career:26 he now began to associate closely with the coterie of students that coalesced around Franck, a group whose aesthetic their contemporaries described as aristocratic, conservative, and "bien pensant" (right-thinking). It was indeed this circle that would later become the central core of reactionary, anti-Dreyfusard musicians, promoting aristocratic social traditions.

It is, then, significant to note that before Messidor, Zola's operatic texts were neither in prose nor in informal diction, despite their proletarian subjects: already critics were charging that his texts were pretentious and "inflated" (gonflee), and thus unlikely declamation for the characters depicted, as well as monotonous in rhythm. Zola was discovering a basic dilemma for those seeking operatic reform—how to be dramatically realistic in a genre that was inherently so unreal. Such disparity in aesthetic distance, or the problem of operatic verisimilitude, was to lead Zola and Bruneau to both an impasse, and eventually to politicized attacks.

D' Indy continued to play subtly on the dual political and artistic resonance of his terms and concepts to the very end of this inaugural speech; lor he concluded by THE NEW CULTURAL "WAR" AND THE FRENCH MUSICAL WORLD 3S thanking those who had been "brave militants" and then went on to promise that the work of the Schola would be to the glory of both the country and of art. THE REPUBLIC'S FIRST RIPOSTE: THE 1900 EXPOSITION AND MUSIC D' Indy's perception of a "war" with both the "Dreyfusard Republic" and with its national Conservatoire was expressed even more vehemently in his letters, as we have seen.

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