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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 engaged intellectually and creatively with the central political and ideological issues of the period. Employing recent sociological 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 the First 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 not only the case with Debussy in wartime, but with Ravel in the twenties, when he became a socialist and unequivocally rejected 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 the thirties, 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 other more compatible movements or returned to the Catholic Church. Like other French Catholics, they faced the crisis of Catholicism 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 movements that embraced modern art and insisted that religion must cross national and 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, we can 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.
- Sales Rank: #3939139 in Books
- Published on: 2007-11-16
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 1.11" w x 6.00" l, 1.49 pounds
- Binding: Paperback
- 488 pages
Review
"Fulcher succeeds brilliantly in her stated (but not too modest) aim--to show that 'all which we have largely relegated to the "background"...were significant forces in French musical evolution' (323). Beyond that project, her retrieval of music as 'representation' (in the discrusive sense) models an archeological method with which to unearth layers of significance. Fulcher's study in essential reading."--Stephen Schloesser, Journal of Interdisciplinary History
About the Author
Jane Fulcher is Professor of Musicology at the University of Michigan. She is the author of The Nation's Image: French Grand Opera as Politics and Politicized Art (1987), French Cultural Politics and Music: From the Dreyfus Affair to the First World War (OUP, 1999), and editor of and contributor to Debussy and His World (2000). She served as Visiting Professor at the Ecole des Hautes Etudes en Sciences Sociales in Paris in 1985 and again in 1995. She has received research awards from the Centre National de la Recherche Scientifique (Paris), the Institute for Advanced Study (Berlin), the National Endowment for the Humanities, the American Council of Learned Societies, the National Humanities Center, and the Institute for Advanced Studies (Princeton, NJ).
Most helpful customer reviews
1 of 1 people found the following review helpful.
Marvelous Contribution
By Robert Shapiro
A wonderful study of the "composer as intellectual" including the crucial aspect of political thinking on the part of French composers from WWI up until WWII. Fine discussion of the crucial political climate of the 1930s and the advent of the "Popular Front". I wish I had known about this book while writing my book about the group, Les Six, which is discussed in fine detail within this volume. Robert Shapiro (author of "Les Six: The French Musicians and their Mentors Erik Satie and Jean Cocteau")(2011).
0 of 0 people found the following review helpful.
Highly recommend
By B Mel
As a professional musician, I find this book excellent and very exhaustive.
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