French Music Criticism and Musicology at the Turn of the Twentieth Century: New Journals, New Networks

TLDR: In this paper, the authors examine the efforts of French musicologists to create a specialized journal at the turn of the twentieth century that would clearly associate music criticism and musicology, using as case study a set of music journals, from La Revue d'histoire et de critique musicales to the Mercure musical and the Revue S.I.M.

Abstract: This article examines the efforts of French musicologists to create a specialized journal at the turn of the twentieth century that would clearly associate music criticism and musicology. Using as case study a set of music journals, from La Revue d’histoire et de critique musicales to the Mercure musical and the Revue S.I.M. that followed, I establish the connections that brought together the nascent musicological milieu, the musical press and the artistic affinities among the principal actors in their attempt to create a new network of music critics guided by musicological exigencies. Jules Combarieu, Romain Rolland, Louis Laloy, Jean Marnold, Emile Vuillermoz and Jules Ecorcheville are some of the musicologists engaged in this project between 1900 and 1914. But historical contingencies make this project a relative utopia, and requirements of the young musicology hardly meet that of a music criticism divided between disciplinary tradition and the necessity to support contemporary music. After the war, with the founding of a new Revue musicale, Rene Prunieres, prudently, would not hire musicologists to develop a music criticism. Instead, he took up the characteristically Republican project of promoting musical culture, and thus responding to the interests of both the cultivated bourgeoisie and the musical, literary and artistic milieus through diffusion of music knowledge.