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Journal ArticleDOI

Critical Responses to Nineteenth-Century French Music

10 Mar 2021-Nineteenth-century music review (Cambridge University Press (CUP))-pp 1-9
TL;DR: For instance, this paper published a collection of essays from the Middle Ages to the present, focusing on music criticism from the classical to the modern period, and the Journal of Music Criticism was launched in 2017.
Abstract: Music criticism research is burgeoning. For instance, Nineteenth-Century Music Criticism, a collection edited by Teresa Cascudo and published in 2017, presents 22 essays in four languages. The Journal of Music Criticism, also launched in 2017, provides even more evidence of sustained and widespread interest. The Cambridge History of Music Criticism (2019), edited by Christopher Dingle, profiles its subject from the Middle Ages to the present. And Nineteenth-Century Music

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Citations
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Journal ArticleDOI
TL;DR: In this article, Fulcher argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action.
Abstract: This book argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in terms of the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action. Applying recent insights from French history, sociology, political anthropology, and literary theory, the book reveals how nationalists used critics, educational institutions, concert series and lectures to disseminate their values through a discourse on French music; and it demonstrates how the Republic and Left responded to this challenge through their own discourses on French musical values. Against this background Fulcher traces the impact of this politicized musical culture on composers such as d'Indy, Charpentier, Magnard, Debussy, and Satie.

53 citations

References
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Journal ArticleDOI
TL;DR: In the case of the U.S. president rated lowest by historians and the public, political opponents set the agenda, while potential supporters did not defend him, given their political interests, structural positions, and a lack of credible narrative as discussed by the authors.
Abstract: "Reputational entrepreneurs" attempt to control the memory of historical figures through motivation, narrative facility, and institutional placement. Whereas the study of those remembered as great or evil draws on Durkheimian Theory's consensus and cohesion, this does not explain the memory of the "incompetent." Reputational politics is an arena in which forces compete to control memory. Reputations are grounded in a social construction of character, subsequently generalized to policy and the character of the society. In the case of Warren G. Harding, the U.S. president rated lowest by historians and the public, political opponents set the agenda, while potential supporters did not defend him, given their political interests, structural positions, and a lack of credible narrative.

217 citations

Book
06 Jul 2009
TL;DR: A walking tour of Paris can be found in this article, where the authors describe the history of music in the Third Republic of France and the role of women in the musical world.
Abstract: Preface Acknowledgments Introduction. Paris: A Walking Tour Topographies of Power: The Semiotics of the Parisian Landscape--Negotiating Life in the City--New Promenades in the Aural Landscapes of Paris--The Legacy of the Third Republic Part 1. Forming Public Spirit and Useful Citizens 1. Use, the Useful, and Public Utility: A Theory of Musical Value Tensions between the Useful and the Beautiful--Satisfying Social Needs and Creating the Nation--Music as Utilite Publique 2. Reinscribing the Revolutionary Legacy Public Instruction of Mind and Heart--Music in Public Festivals--National Institutions--Music, Character, and the Utility of Gender Part 2. Shaping Judgment and National Taste 3. Music as Political Culture: From Active Listening to Active Citizenship Political Legitimacy and Civic Society--Republican Pedagogy, Cultural Integration, and Citizenship--Performance and Public Taste under the Moral Order 4. Regenerating National Pride: Musical Progress and International Glory Moral and Musical Progress--Exporting French Music and French Values--Arts Policy and the Utility of Competition--Contradictions and Paradoxes Part 3. Instituting Republican Culture 5. Imagining a New Nation through Music: New Traditions, New History Enacting Change at Schools and the Opera--Reevaluating Luxury and the Question of Opera--Renarrating the Revolution--Reconceiving Music History 6. An Ideology of Diversity, Eclecticism, and Pleasure Promoting Diversity and Eclecticism--Redefining Music's Utilite Publique--Exploring Uncharted Territory 7. Musical Hybridity and the Challenges of Colonialism Musical Fantasies Fueling Colonialist Desire--Music and Colonial Assumptions--Songs Inspiring Resistance 8. Useful Distractions and Economic Liberalism in the Belle Epoque Department Stores--Competition in the Musical World--Expanded Performance Opportunities, Including for Women--Theater and Popular Entertainment Part 4. Shifting Notions of Utility: Between the Nation and the Self 9. Music as Resistance and an Emerging Avant-garde Reviving Memory of the Ancien Regime--Wagner's Threatening Allure--Art beyond Politics, Music of and for the Mind--Intuition and Radically New Concepts of Music 10. The Symbolic Utility of Music at the 1889 Universal Exhibition Republican Values on Display--The Utility of Exotic Music--The Exhibition in Retrospect 11. New Alliances and New Music Mandating Change--The New Left's Hopes--The New Right's Alliances in Politics and Music--Revisiting Musique ancienne et moderne 12. The Dynamics of Identity and the Struggle for Distinction Race and French History--Listening through Women-Fusion versus Distinction--From the Useful to the Healthy Coda Appendix A. Important Political and Musical Events in the Early Third Republic Appendix B. References in Menestrel to Performances of French Operas Abroad, 1872-1888 Appendix C. Selected Publications on Revolutionary Music after 1870 List of Illustrations List of Musical Examples Illustration Credits Index

110 citations

Journal ArticleDOI
TL;DR: In this article, Fulcher argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action.
Abstract: This book argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in terms of the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action. Applying recent insights from French history, sociology, political anthropology, and literary theory, the book reveals how nationalists used critics, educational institutions, concert series and lectures to disseminate their values through a discourse on French music; and it demonstrates how the Republic and Left responded to this challenge through their own discourses on French musical values. Against this background Fulcher traces the impact of this politicized musical culture on composers such as d'Indy, Charpentier, Magnard, Debussy, and Satie.

53 citations

Book
01 Jan 1999
TL;DR: In this paper, Fulcher argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action.
Abstract: This book argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in terms of the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action. Applying recent insights from French history, sociology, political anthropology, and literary theory, the book reveals how nationalists used critics, educational institutions, concert series and lectures to disseminate their values through a discourse on French music; and it demonstrates how the Republic and Left responded to this challenge through their own discourses on French musical values. Against this background Fulcher traces the impact of this politicized musical culture on composers such as d'Indy, Charpentier, Magnard, Debussy, and Satie.

49 citations

Book
01 Aug 1987

33 citations