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Music and Ultra-Modernism in France: A Fragile Consensus, 1913-1939 (Hardcover, New)
Loot Price: R1,091
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Music and Ultra-Modernism in France: A Fragile Consensus, 1913-1939 (Hardcover, New)
Series: Music in Society and Culture
Expected to ship within 12 - 17 working days
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Exploring the ideas of consensus, resistance and rupture, this book
contributes an important and nuanced reflection to the current
debate on modernism in music. Music and Ultra-Modernism in France
examines the priorities of three generational groupings: the
pre-war Societe Musicale Independente of Ravel and his circle, Les
Six in the 1920s and Jeune France in 1936. Exploring the ideas of
consensus, resistance and rupture, the book contributes an
important and nuanced reflection to the current debate on modernism
in music. It considers the roles composers, critics and biographers
played in shaping debates about contemporary music, showing how
composers including Ravel, Poulenc, Milhaud, Jolivet and Messiaen
and critics such as Paul Landormy, Andre Coeuroy and Roland-Manuel
often worked in partnership to bring their ideas to a publicforum.
It also expands the notion of 'interwar' through the essential
inclusion of World War I and the years before, reconfiguring the
narrative for that period. This book challenges some of the
stereotypes that characterisethe period, in particular,
neo-classicism and the dominance of secularism. It shows how
Stravinsky worked closely with Ravel, Satie and Poulenc and invited
audiences and critics to rethink what it meant to be modern. The
interwaryears were also marked by commemoration and loss. Debussy's
wartime death in 1918 stimulated competing efforts (by Emile
Vuillermoz, Leon Vallas and Henry Prunieres) to shape his legacy.
They were motivated by nostalgia for a lostand glorious generation
and a commitment to building a legacy of French achievement. Music
and Ultra-Modernism in France argues for the vitality of French
music in the period 1913-39 and challenges the received view that
the period and its musical culture lacked dynamism, innovation or
serious musical debate. BARBARA L. KELLY is Professor of Music at
Keele University.
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