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The Composer As Intellectual - Music and Ideology in France, 1914-1940 (Hardcover, New)
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The Composer As Intellectual - Music and Ideology in France, 1914-1940 (Hardcover, New)
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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 also 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 refused to espouse 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 more
compatible movements or returned to the Catholic Church. Like many
French Catholics, they faced the crisis of Catholicism in the
thirties when the churchnot 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.
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