Jane F. Fulcher – författare

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 church not 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.

In Renegotiating French Identity, Jane Fulcher addresses the question of cultural resistance to the German occupation and Vichy regime during the Second World War. Nazi Germany famously stressed music as a marker of national identity and cultural achievement, but so too did Vichy. From the opera to the symphony, music did not only serve the interests of Vichy and German propaganda: it also helped to reveal the motives behind them, and to awaken resistance among those growing disillusioned by the regime. Using unexplored Resistance documents, from both the clandestine press and the French National Archives, Fulcher looks at the responses of specific artists and their means of resistance, addressing in turn Pierre Schaeffer, Arthur Honegger, Francis Poulenc, and Olivier Messiaen, among others. This book investigates the role that music played in fostering a profound awareness of the cultural and political differences between conflicting French ideological positions, as criticism of Vichy and its policies mounted.

In Renegotiating French Identity, Jane Fulcher addresses the question of cultural resistance to the German occupation and Vichy regime during the Second World War. Nazi Germany famously stressed music as a marker of national identity and cultural achievement, but so too did Vichy. From the opera to the symphony, music did not only serve the interests of Vichy and German propaganda: it also helped to reveal the motives behind them, and to awaken resistance among those growing disillusioned by the regime. Using unexplored Resistance documents, from both the clandestine press and the French National Archives, Fulcher looks at the responses of specific artists and their means of resistance, addressing in turn Pierre Schaeffer, Arthur Honegger, Francis Poulenc, and Olivier Messiaen, among others. This book investigates the role that music played in fostering a profound awareness of the cultural and political differences between conflicting French ideological positions, as criticism of Vichy and its policies mounted.

In Renegotiating French Identity, Jane Fulcher addresses the question of cultural resistance to the German occupation and Vichy regime during the Second World War. Nazi Germany famously stressed music as a marker of national identity and cultural achievement, but so too did Vichy. From the opera to the symphony, music did not only serve the interests of Vichy and German propaganda: it also helped to reveal the motives behind them, and to awaken resistance among those growing disillusioned by the regime. Using unexplored Resistance documents, from both the clandestine press and the French National Archives, Fulcher looks at the responses of specific artists and their means of resistance, addressing in turn Pierre Schaeffer, Arthur Honegger, Francis Poulenc, and Olivier Messiaen, among others. This book investigates the role that music played in fostering a profound awareness of the cultural and political differences between conflicting French ideological positions, as criticism of Vichy and its policies mounted.

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.

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 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 church not 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.

This volume demonstrates the recent direction of cultural history, as it is now being practiced in both history and musicology, to grasp the realms of human experience, understanding and meaning-how they are constructed, negotiated and communicated on both an individual and a social level. Just as historians in their quest to understand the construction and transmission of meaning, musicologists are turning to new inquiries into cultural representations and their social dynamics, while remaining aware of music's distinctive "register" of representation as an abstract language and a performing art. As the case studies analyzed by musicologists and historians in this volume attest, both fields are not only posing similar questions but attempting to study music itself together with the relevant framing factors and contexts that imbued it with meaning. They are seeking to do so within a factually accurate yet theoretically sophisticated interpretation that combines the insights into language and semiotics characteristic of "the new cultural history" and "new musicology" of the 1980s and '90s with more recent sociological theories and their perspective on how symbols function within the larger field of social power.The volume illuminates how musicologists and historians are practicing the new cultural history of music, employing similar rubrics and specifically those emerging from the recent synthesis of theoretical perspectives on language, symbols, meanings, and their social as well as political dynamics. These include questions of cultural identity and its expression, or its constructions, representations and exchanges, into which music provides a significant mode of access. The scholars who work in these areas are concerned with those cultural sites of the construction or attempted control of identity, as well as its interrogation through active agency on a social and on an individual level, which embraces subjectivity in its relation to the larger cultural unit. Here we may see attempts on the part of both historians and musicologists to engage with the new ways of perceiving the articulation of music, ideology, and politics opened up by figures such as Foucault, Bourdieu, Elias, Habermas and others. Their study of meanings and symbols is thus both relational and contextual as they strive to unlock the idioms not only of social and political power, but of the strategies of contestation or of refusal.Other scholars represented in this volume are particularly interested in cultural practice, collective memory, transmission and evaluation as it is forged and then negotiated, here influenced by figures such as de Certeau, Corbin, Chartier and Nora. Hence a part of this collection is devoted to cultural experience, practice and appropriations, grouping together those cultural arenas in which music both illuminates and is further illuminated by a study of uses, collective practices, modes of inscription, and of evaluation or reception. The contributors here, both historians and musicologists, are apprised of all the dimensions that may affect the construction of signification, including specific material inscriptions as well as the symbolic potential of the artistic language. Hence here we see a concern, characteristic of "the new cultural history," with how the forms assumed by texts may become an essential element in the creation of their meaning since different groups encounter, "possess," and experience a work in various ways, and within the context of substantially different aural and visual cultures.

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 church not 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.

This book draws upon both musicology and cultural history to argue that French musical meanings and values from 1898 to 1914 are best explained not in terms of contemporary artistic movements but of the political culture.During these years, France was undergoing many subtle yet profound political changes. Nationalist leagues forged new modes of political activity, as Jane F. Fulcher details in this important study, and thus the whole playing field of political action was enlarged. Investigating this transitional period in light of several recent insights in the areas of French history, sociology, political anthropology, and literary theory, Fulcher shows how the new departures in cultural politics affected not only literature and the visual arts but also music. Having lost the battle of the Dreyfus affair (legally, at least), the nationalists set their sights on the art world, for they considered France''s artistic achievements the ideal means for furthering their conception of "French identity." French Cultural Politics and Music: From the Dreyfus Affair to the First World War illustrates the ways in which the nationalists effectively targeted the music world for this purpose, employing critics, educational institutions, concert series, and lectures to disseminate their values by way of public and private discourses on French music. Fulcher then demonstrates how both the Republic and far Left responded to this challenge, using programs and institutions of their own to launch counterdiscourses on contemporary musical values.Perhaps most importantly, this book fully explores the widespread influence of this politicized musical culture on such composers as d''Indy, Charpentier, Magnard, Debussy, and Satie. By viewing this fertile cultural milieu of clashing sociopolitical convictions against the broader background of aesthetic rivalry and opposition, this work addresses the changing notions of "tradition" in music--and of modernism itself. As Fulcher points out, it was the traditionalist faction, not the Impressionist one, that eventually triumphed in the French musical realm, as witnessed by their "defeat" of Stravinsky''s Rite of Spring.

As the field of Cultural History grows in prominence in the academic world, an understanding of the history of culture has become vital to scholars across disciplines. The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the cutting-edge work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed symbolically through various layers of culture and in many forms of art. The Oxford Handbook of the New Cultural History of Music fosters and reflects a sustained dialogue about their shared goals and techniques, rejuvenating their work with new insights into the field itself.

As the field of Cultural History grows in prominence in the academic world, an understanding of the history of culture has become vital to scholars across disciplines. The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the cutting-edge work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed symbolically through various layers of culture and in many forms of art. The Oxford Handbook of the New Cultural History of Music fosters and reflects a sustained dialogue about their shared goals and techniques, rejuvenating their work with new insights into the field itself.

This edited volume brings together academic specialists writing on the multi-media operatic form from a range of disciplines: comparative literature, history, sociology, and philosophy. The presence in the volume's title of Pierre Bourdieu, the leading cultural sociologist of the late twentieth century, signals the editors' intention to synthesise advances in social science with advances in musicological and other scholarship on opera. Through a focus on opera in Italy and France, the contributors to the volume draw on their respective disciplines both to expand our knowledge of opera's history and to demonstrate the kinds of contributions that stand to be made by different disciplines to the study of opera. The volume is divided into three sections, each of which is preceded by a concise and informative introduction explaining how the chapters in that section contribute to our understanding of opera.