Renegotiating French identity : musical culture and creativity in France during Vichy and the German occupation /
| Main Author: | |
|---|---|
| Corporate Author: | |
| Format: | eBook |
| Language: | English |
| Published: |
New York, NY :
Oxford University Press,
[2018]
|
| Subjects: | |
| Online Access: | Connect to the full text of this electronic book |
Table of Contents:
- 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
- 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
- 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
- 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
- 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