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
Inhoudsopgave
Introduction: The Role of Criticism in Interwar Musical Culture – Christopher Moore and Barbara L. Kelly
Music Criticism and Aesthetics during the Interwar Period: Fewer Crimes and More Punishments – Michel Duchesneau
Nostalgia and Violence in the Music Criticism of
L’Action française – Christopher Moore
Charles Koechlin: The Figure of the Expert – Philippe Cathé
Bleu-horizon Politics and Music for Radio Listeners:
L’Initiation à la musique (1935) – Jann Pasler
Common Canon, Conflicting Ideologies: Music Criticism in Performance in Interwar France – Barbara L. Kelly
Arthur Honegger: Music Critic for
Musique et Théâtre (1925-1926) – Pascal Lécroart
A Woman’s Critical Voice: Nadia Boulanger and
Le Monde musical, 1919-1923 – Kimberly Francis
From a Foreign Correspondent: the Parisian Chronicles of Alejo Carpentier – Caroline Rae
Debussy’s ‘Reputational Entrepreneurs’: Vuillermoz, Koechlin, Laloy, and Vallas – Marianne Wheeldon
The Legacy of War: Conceptualising Wartime Musical Life in the Post-War Musical Press, 1919-1920 – Rachel Moore
Jacinthe Harbec, Satie, Relâche and the Press: Controversies and Legacy – Jacinthe Harbec
Creating a Canon: Émile Vuillermoz’s
Musiques d’aujourd’hui and French Musical Modernity – Danick Trottier
Bibliography
Over de auteur
RACHEL MOORE is Lecturer in Music, Cardiff University.
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