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Exploring the emotional and cultural influences on Pierre Boulez's
early works as well as the role surrealism and French culture of
the 1930s and 40s played in shaping his radical new musical
concepts. Pierre Boulez's (1925-2016) creative output has mostly
been studied from an analytical perspective in the context of
serialism. While Boulez tends to be pigeonholed as a cerebral
composer, his interest in structure coexisted with extreme visceral
energy. This book redresses the balance and stresses the febrile
cultural environment of Paris in the 1940s and the emotional side
of his early works. Surrealism, in particular, had an impact on
Boulez's formative years that has until now been underexplored.
There are intriguing links between French music and surrealism in
the 1930s and 40s, arising within a cultural context where
surrealism, ethnography and the emerging discipline of
ethnomusicology were closely related. Potter situates the young
Boulez within this environment. As an emerging musician, he
explored radical new musical concepts alongside peers including
Yvette Grimaud, Serge Nigg and Yvonne Loriod, performing and
exchanging ideas with them. This book argues that authors
associated with surrealism, especially René Char but also Antonin
Artaud and André Breton, were crucial to Boulez's musical
development. It enhances our understanding of his work by
connecting it with significant trends in contemporary French
culture, refocusing Boulez studies away from detailed musical
analysis and towards a broader and more visceral, emotional
response to his work.
Pioneers in their fields and two of the best-known women in music
in the twentieth century, Nadia and Lili Boulanger have previously
been considered in isolation from one another. Yet, as Caroline
Potter's new book demonstrates, their careers were closely linked
during Lili Boulanger's short life (1893-1918) and there are
several intriguing connections between their musical works. This
biography also provides the first full analysis of the Boulanger
sisters' musical styles, placing them within the context of French
musical history. Their lives are also a case study in the issues of
gender which surround music making even to the present day. Despite
an unusually privileged upbringing, Nadia and Lili Boulanger
exemplify the struggle women experienced when attempting to enter
the professional music world. Lili became the first woman to win
the Prix de Rome in 1913, and Nadia gained second place in 1908.
Yet in spite of this initial success, Nadia Boulanger was to give
up composing in her thirties and devoted the remainder of her long
life to teaching. Her pupils included several of the great
composers of the century, including Aaron Copland and Elliott
Carter. This book, focusing on their musical careers, is essential
reading for anyone interested in French music of the twentieth
century.
This collection brings together three generations of medical
anthropologists working at European universities to reflect on
past, current and future directions of the field. Medical
anthropology emerged on an international playing ground, and while
other recently compiled anthologies emphasize North American
developments, this volume highlights substantial ethnographic and
theoretical studies undertaken in Europe. The first four chapters
trace the beginnings of medical anthropology back into the two
formative decades between the 1950s-1970s in Italy, German-speaking
Europe, the Netherlands, France and the UK, supported by four brief
vignettes on current developments. Three core themes that emerged
within this field in Europe - the practice of care, the body
politic and psycho-sensorial dimensions of healing - are first
presented in synopsis and then separately discussed by three
leading medical anthropologists Susan Whyte, Giovanni Pizza and
Rene Devisch, complemented by the work of three early career
researchers. The chapters aim to highlight how very diverse (and
sometimes overlooked) European developments within this rapidly
growing field have been, and continue to be. This book will spur
reflection on medical anthropology's potential for future
scholarship and practice, by students and established scholars
alike. This book was originally published as a special issue of
Anthropology and Medicine.
Pioneers in their fields and two of the best-known women in music
in the twentieth century, Nadia and Lili Boulanger have previously
been considered in isolation from one another. Yet, as Caroline
Potter's new book demonstrates, their careers were closely linked
during Lili Boulanger's short life (1893-1918) and there are
several intriguing connections between their musical works. This
biography also provides the first full analysis of the Boulanger
sisters' musical styles, placing them within the context of French
musical history. Their lives are also a case study in the issues of
gender which surround music making even to the present day. Despite
an unusually privileged upbringing, Nadia and Lili Boulanger
exemplify the struggle women experienced when attempting to enter
the professional music world. Lili became the first woman to win
the Prix de Rome in 1913, and Nadia gained second place in 1908.
Yet in spite of this initial success, Nadia Boulanger was to give
up composing in her thirties and devoted the remainder of her long
life to teaching. Her pupils included several of the great
composers of the century, including Aaron Copland and Elliott
Carter. This book, focusing on their musical careers, is essential
reading for anyone interested in French music of the twentieth
century.
Henri Dutilleux (born 1916) is one of France's leading composers,
though until recently his music received more attention in the
United States than in Europe. A fiercely independent composer who
pursues his own musical path regardless of fashion, he has never
courted the public eye, yet in this book he is revealed as a
composer very much engaged with the work of other artists from all
spheres. Caroline Potter's fascinating survey examines the relation
of some of these artists to Dutilleux's music. In literature, the
notions of memory and time found in the writings of Baudelaire and
Proust have had profound effects on his compositional development,
whilst the visual arts have informed his aesthetic ideas and their
expression in both his music and even in his meticulously produced
scores. Always a perfectionist, Dutilleux now rejects those earlier
works which are not representative of his mature style. By
analysing these early pieces, Dr Potter traces the evolution of his
musical style, and she investigates his compositional process and
use of particular referential devices in later works. Whilst his
music is unequivocally of our time, Dutilleux has never lost the
ability to communicate with a wide-ranging audience. Drawing on
interviews with the composer, this study provides penetrating
insights into this complex composer's musical world.
French Music Since Berlioz explores key developments in French
classical music during the nineteenth and twentieth centuries. This
volume draws on the expertise of a range of French music scholars
who provide their own perspectives on particular aspects of the
subject. Deirdre Donnellon's introduction discusses important
issues and debates in French classical music of the period,
highlights key figures and institutions, and provides a context for
the chapters that follow. The first two of these are concerned with
opera in the nineteenth and twentieth centuries respectively,
addressed by Thomas Cooper for the nineteenth century and Richard
Langham Smith for the twentieth. Timothy Jones's chapter follows,
which assesses the French contribution to those most Germanic of
genres, nineteenth-century chamber music and symphonies. The
quintessentially French tradition of the nineteenth-century salon
is the subject of James Ross's chapter, while the more sacred
setting of Paris's most musically significant churches and the
contribution of their organists is the focus of Nigel Simeone's
essay. The transition from the nineteenth to the twentieth century
is explored by Roy Howat through a detailed look at four leading
figures of this time: Faure, Chabrier, Debussy and Ravel. Robert
Orledge follows with a later group of composers, Satie & Les
Six, and examines the role of the media in promoting French music.
The 1930s, and in particular the composers associated with Jeune
France, are discussed by Deborah Mawer, while Caroline Potter
investigates Parisian musical life during the Second World War. The
book closes with two chapters that bring us to the present day.
Peter O'Hagan surveys the enormous contribution to French music of
Pierre Boulez, and Caroline Potter examines trends since 1945.
Aimed at teachers and students of French music history, as well as
performers and the inquisitive concert- and opera-goer, French
Music Since Berlioz is an essential companion for anyone interested
in the culture of France.
Erik Satie (1866-1925) was a quirky, innovative and enigmatic
composer whose impact has spread far beyond the musical world. As
an artist active in several spheres - from cabaret to religion,
from calligraphy to poetry and playwriting - and collaborator with
some of the leading avant-garde figures of the day, including
Cocteau, Picasso, Diaghilev and Rene Clair, he was one of few
genuinely cross-disciplinary composers. His artistic activity,
during a tumultuous time in the Parisian art world, situates him in
an especially exciting period, and his friendships with Debussy,
Stravinsky and others place him at the centre of French musical
life. He was a unique figure whose art is immediately recognisable,
whatever the medium he employed. Erik Satie: Music, Art and
Literature explores many aspects of Satie's creativity to give a
full picture of this most multifaceted of composers. The focus is
on Satie's philosophy and psychology revealed through his music;
Satie's interest in and participation in artistic media other than
music, and Satie's collaborations with other artists. This book is
therefore essential reading for anyone interested in the French
musical and cultural scene of the late nineteenth and early
twentieth century.
This collection brings together three generations of medical
anthropologists working at European universities to reflect on
past, current and future directions of the field. Medical
anthropology emerged on an international playing ground, and while
other recently compiled anthologies emphasize North American
developments, this volume highlights substantial ethnographic and
theoretical studies undertaken in Europe. The first four chapters
trace the beginnings of medical anthropology back into the two
formative decades between the 1950s-1970s in Italy, German-speaking
Europe, the Netherlands, France and the UK, supported by four brief
vignettes on current developments. Three core themes that emerged
within this field in Europe - the practice of care, the body
politic and psycho-sensorial dimensions of healing - are first
presented in synopsis and then separately discussed by three
leading medical anthropologists Susan Whyte, Giovanni Pizza and
Rene Devisch, complemented by the work of three early career
researchers. The chapters aim to highlight how very diverse (and
sometimes overlooked) European developments within this rapidly
growing field have been, and continue to be. This book will spur
reflection on medical anthropology's potential for future
scholarship and practice, by students and established scholars
alike. This book was originally published as a special issue of
Anthropology and Medicine.
Erik Satie (1866-1925) was a quirky, innovative and enigmatic
composer whose impact has spread far beyond the musical world. As
an artist active in several spheres - from cabaret to religion,
from calligraphy to poetry and playwriting - and collaborator with
some of the leading avant-garde figures of the day, including
Cocteau, Picasso, Diaghilev and Rene Clair, he was one of few
genuinely cross-disciplinary composers. His artistic activity,
during a tumultuous time in the Parisian art world, situates him in
an especially exciting period, and his friendships with Debussy,
Stravinsky and others place him at the centre of French musical
life. He was a unique figure whose art is immediately recognisable,
whatever the medium he employed. Erik Satie: Music, Art and
Literature explores many aspects of Satie's creativity to give a
full picture of this most multifaceted of composers. The focus is
on Satie's philosophy and psychology revealed through his music;
Satie's interest in and participation in artistic media other than
music, and Satie's collaborations with other artists. This book is
therefore essential reading for anyone interested in the French
musical and cultural scene of the late nineteenth and early
twentieth century.
French Music Since Berlioz explores key developments in French
classical music during the nineteenth and twentieth centuries. This
volume draws on the expertise of a range of French music scholars
who provide their own perspectives on particular aspects of the
subject. Deirdre Donnellon's introduction discusses important
issues and debates in French classical music of the period,
highlights key figures and institutions, and provides a context for
the chapters that follow. The first two of these are concerned with
opera in the nineteenth and twentieth centuries respectively,
addressed by Thomas Cooper for the nineteenth century and Richard
Langham Smith for the twentieth. Timothy Jones's chapter follows,
which assesses the French contribution to those most Germanic of
genres, nineteenth-century chamber music and symphonies. The
quintessentially French tradition of the nineteenth-century salon
is the subject of James Ross's chapter, while the more sacred
setting of Paris's most musically significant churches and the
contribution of their organists is the focus of Nigel Simeone's
essay. The transition from the nineteenth to the twentieth century
is explored by Roy Howat through a detailed look at four leading
figures of this time: Faure, Chabrier, Debussy and Ravel. Robert
Orledge follows with a later group of composers, Satie & Les
Six, and examines the role of the media in promoting French music.
The 1930s, and in particular the composers associated with Jeune
France, are discussed by Deborah Mawer, while Caroline Potter
investigates Parisian musical life during the Second World War. The
book closes with two chapters that bring us to the present day.
Peter O'Hagan surveys the enormous contribution to French music of
Pierre Boulez, and Caroline Potter examines trends since 1945.
Aimed at teachers and students of French music history, as well as
performers and the inquisitive concert- and opera-goer, French
Music Since Berlioz is an essential companion for anyone interested
in the culture of France.
Satie's music and ideas are inextricably linked with the City of
Light. This book situates Satie's work within the context and sonic
environment of contemporary Paris. Erik Satie's (1866-1925) music
appeals to wide audiences and has influenced both experimental
artists and pop musicians. Little about Satie was conventional, and
he resists classification under easy headings such as "classical
music". Instead of pursuing the path of a professional composer,
Satie initially earned a living as a cafe pianist and moved in
bohemian circles which prized satire, popular culture and
experiment. Small wonder that his music is fundamentally new in
conception. It is music which is not always designed to be listened
to attentively: music which can be machine-like but is to be played
by humans. For Satie, music was part of a wider concept of artistic
creation,as evidenced by his collaborations with leading
avant-garde artists and in works which cross traditional genre
boundaries such as his texted piano pieces. His music was created
in some of the most exciting and creatively stimulating
environments of the late nineteenth and early twentieth century:
Montmartre and Montparnasse. Paris was the artistic centre of
Europe, and Satie was a notorious figure whose music and ideas are
inextricably linked with the City of Light. This book situates
Satie's work within the context and sonic environment of
contemporary Paris. It shows that the influence of street music,
musicians and poets interested in new technology, contemporary
innovations and radical politics are all crucial to an
understanding of Satie. Music from the ever-popular Gymnopedies to
newly discovered works are discussed, and an online supplement
features rare pieces recorded especially for the book. CAROLINE
POTTER is Reader in Music at Kingston University London. A graduate
in both French and Music, she has published widely on French music
since Debussy and was Series Advisor to the Philharmonia
Orchestra's Paris2014-15 season.
Henri Dutilleux (born 1916) is one of France's leading composers,
though until recently his music received more attention in the
United States than in Europe. A fiercely independent composer who
pursues his own musical path regardless of fashion, he has never
courted the public eye, yet in this book he is revealed as a
composer very much engaged with the work of other artists from all
spheres. Caroline Potter's fascinating survey examines the relation
of some of these artists to Dutilleux's music. In literature, the
notions of memory and time found in the writings of Baudelaire and
Proust have had profound effects on his compositional development,
whilst the visual arts have informed his aesthetic ideas and their
expression in both his music and even in his meticulously produced
scores. Always a perfectionist, Dutilleux now rejects those earlier
works which are not representative of his mature style. By
analysing these early pieces, Dr Potter traces the evolution of his
musical style, and she investigates his compositional process and
use of particular referential devices in later works. Whilst his
music is unequivocally of our time, Dutilleux has never lost the
ability to communicate with a wide-ranging audience. Drawing on
interviews with the composer, this study provides penetrating
insights into this complex composer's musical world.
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