musical culture and creativity in France during Vichy and the German occupation /
First Statement of Responsibility
Jane F. Fulcher.
.PUBLICATION, DISTRIBUTION, ETC
Place of Publication, Distribution, etc.
New York, NY :
Name of Publisher, Distributor, etc.
Oxford University Press,
Date of Publication, Distribution, etc.
[2018]
PHYSICAL DESCRIPTION
Specific Material Designation and Extent of Item
1 online resource (xii, 490 pages)
INTERNAL BIBLIOGRAPHIES/INDEXES NOTE
Text of Note
Includes bibliographical references and index.
CONTENTS NOTE
Text of Note
Cover; Half title; Renegotiating French Identity; Copyright; Dedication; Contents; Acknowledgments; Introduction: The new historiography of Vichy; Initial new directions in larger studies of Vichy culture; New issues: Dual surveillance, the complex bureaucratic matrix, and the cultural field; Vichy's musical culture and the still looming questions: What did result, when, and where?; Concomitant theoretical issues: How were musical works inscribed, framed, and read?; Public and creative responses: The question of collective and individual French identity
Text of Note
The role of the Germans and their interest in concerts and in the musical pressGerman and French broadcasts of classical concerts; The Germans and the Paris Conservatoire; The Germans and intervention in French recordings; Vichy's own constraints and shifting goals in music; Vichy "experts" in music and the case of Jacques Rouché; Another Vichy "expert"-Alfred Cortot; Vichy and its goals in recordings; Vichy's corporate organization of the musical profession; Vichy and state commissions in music; The case of the Opéra: Rouché's initial latitude but growing Vichy and German pressures
Text of Note
Vichy's interest in the Conservatoire and its regional branchesSubversion within institutions and performance venues; The development of the musical resistance and its response both to the Germans and to Vichy; 2. Reinscribing, framing, and subverting an operatic icon: Debussy's Pelléas et Mélisande; The double advantage of both Berlioz and Debussy; Pelléas: Its nature, style, and the initial French reception of the performance in 1940; Désormière's "classic" interpretation in a still relatively autonomous musical field
Text of Note
Vichy's negotiations of French cultural identityVichy and the question of the French national heritage, or cultural tradition; The limits allowed by the Germans in the reconfiguration of French national identity; Vichy's cultural institutions and their complex, divergent, evolving mandates; A consistent Vichy cultural agenda?; Beyond conceptions of a Vichy patriotic "double game"; A Vichy musical program? Its evolving aims and the musical field; The roles of ministers of national education and of the secrétaire générale in music
Text of Note
What constituted resistance in music, and what kinds of innovations did it foster?Reformulating older questions and posing new ones; 1. The essential political and institutional background; Beyond a monolithic view of Vichy and its doctrine of the Révolution nationale; Vichy and its relation to the Germans; Vichy's brand of patriotism and nationalism; Beneath the apparent traditionalism; The evolution of the regime and the significant markers; German and Vichy repression and the development of the Resistance; Vichy's reconstruction of French identity
0
8
8
8
8
SUMMARY OR ABSTRACT
Text of Note
In Renegotiating French Identity, Jane Fulcher addresses the question of cultural resistance to the German occupation and Vichy regime during the Second World War, specifically by addressing the role of music.
OTHER EDITION IN ANOTHER MEDIUM
Title
Renegotiating French identity.
International Standard Book Number
9780190681500
TOPICAL NAME USED AS SUBJECT
Music-- France-- 20th century-- History and criticism.
Music-- Political aspects-- France-- History-- 20th century.