Music in Paris during the Franco-Prussian War and the Commune

2005 ◽  
Vol 22 (2) ◽  
pp. 173-202 ◽  
Author(s):  
JESS TYRE
Keyword(s):  
Art Music ◽  
Social Contexts ◽  
Social Stability ◽  
Second Empire ◽  
Paris Commune ◽  
French Music ◽  
Musical Tradition ◽  
Good Taste ◽  
Republican Government ◽  
Post War

ABSTRACT The years 1870––71 marked the beginning of dramatic changes in French political and cultural life. A few short months witnessed defeat to Germany in the Franco-Prussian War and the fall of the Second Empire, as well as the rapid rise of the Paris Commune and its subsequent violent suppression through the establishment of republican government. The Parisian musical world, while severely affected by the events of war and deprived of performers and audiences, did not come to a standstill. Indeed, these years ushered in a remarkable increase in the number of institutions and concert societies dedicated to supporting French music and to making what would become the standard repertoire more accessible to the average citizen. Music heightened reactions to the turmoil of war and revolution in Paris at this crucial moment in France's history. Because of their stringent governmental control and largely middle- and working-class audiences, entertainments organized initially by wartime concert societies, and then under the aegis of the Commune, provide us with the greatest opportunity for understanding the political and social contexts in which music operated. Through investigation of the contemporary French press it can be shown that: (1) the perceived function of musical performance was adjusted to suit the practical and symbolic needs of a besieged city; (2) all the factions competing for power during the war and the post-war insurrection in Paris appropriated the connotations of civilization, social stability, and good taste that surrounded ““art music””; (3) the Commune's sudden rejection of the Austro-German musical tradition marked a brief but significant moment in which nationalistic preoccupations supplanted historically cosmopolitan attitudes toward foreign art. The study concludes with a meditation on Alfred Roll's painting of the execution of a Communard trumpeter, in which we find one of the strongest images relating war and rebellion to music in the France of 1871.

Stockhausen, Karlheinz (1928–2007)

2018 ◽  
Author(s):  
Richard Toop
Keyword(s):  
Electronic Music ◽  
Art Music ◽  
Graphic Notation ◽  
Karlheinz Stockhausen ◽  
Avant Garde ◽  
The Public ◽  
Western Art ◽  
Post War ◽  
The One ◽  
German Composer

For much of the 1950s and 1960s, the German composer Karlheinz Stockhausen was an absolutely seminal figure within the European avant-garde. By the mid-1950s, every new work of his seemed to open up new perspectives for radical composing: key notions and genres such as serialism, electronic music, variable forms, and graphic notation were all crucially affected by his work. Of all post-war composers, Stockhausen best exemplifies Chateaubriand’s dictum that ‘‘the original writer is not the one who imitates no one, but he whom no one can imitate’’; whereas other major figures had hosts of epigones, Stockhausen’s huge influence largely involved his way of thinking about composition, which was constantly evolving and re-forming, rather than attempted emulations. At the same time, by the late 1960s he was also something of a cult figure in the pop/rock world, as witness his appearance on the cover of the Beatles’ ‘‘Sergeant Pepper’’ album. Yet from the mid-1970s, Stockhausen increasingly (though never totally) withdrew from the public eye, working for just over twenty-five years on a massive cycle of seven operas collectively entitled Licht [Light], involving about thirty hours of music––probably the most ambitious (completed) project in the whole of Western art music.

scholarly journals FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK

2019 ◽  
Vol 15 (1) ◽  
pp. 22-27
Author(s):  
Svetlana Khubulova
Keyword(s):  
Civil War ◽  
The State ◽  
Trial And Error ◽  
Theater Companies ◽  
Good Taste ◽  
Archival Documents ◽  
Post War ◽  
New Theater ◽  
The Revolution

Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.

scholarly journals Rising Like the Eurovision Song Contest

2020 ◽  
Vol 25 (2) ◽  
pp. 93-113
Author(s):  
Tiina Rosenberg
Keyword(s):  
Communication Strategies ◽  
Good Taste ◽  
Eurovision Song Contest ◽  
Aesthetic Style ◽  
Post War

The 2020 Eurovision Song Contest (ESC) was cancelled due to the COVID-19 pandemic. However, the ESC is still shining after more than half a century and even now seems relevant for its audiences. In the ESC, queer interaction and togetherness are based on a combination of kitsch and camp, an aesthetic style and sensibility that aficionados regard as appealing because of its ironic, overthe-top challenging of the norms of ‘good behavior’ and ‘good taste.’ Nonetheless, it may seem strange that the ESC, a post-war European peace utopia and mainstream music event, is identified to such a degree as queer today, and the question remains whether the ESC can be of interest to dykes and feminists. This essay, therefore, revisits the notions of kitsch and camp as queer communication strategies. It closes with a reflection on the contest’s arbitrary notions of Europe, its troubled geopolitics, and its radically extroverted playing with taste taboos as pleasurable entertainment.

‘La Chanson c'est pour tout le monde’: an introduction to the music of Georges Brassens

Tempo ◽  
2000 ◽  
pp. 38-46
Author(s):  
Simon P. Keefe
Keyword(s):  
Popular Song ◽  
French Music ◽  
French Speaking ◽  
History Of ◽  
Post War ◽  
Georges Brassens

The singer-songwriter Georges Brassens (1921–81) is one of the most critically lauded and commercially successful French musicians of all time. The author and composer of text and music for around 150 songs, with LP sales of over 20 million, Brassens is perhaps the most widely disseminated French ‘popular’ musician of the post-war era, particularly in French-speaking countries. Regarded by many as a cultural and musical icon, he is seen as a standard bearer for liberal French values, and – transcending standard distinctions between ‘popular’ and ‘serious’ styles – as a pivotal figure in the history of French music, credited with ‘revitaliz[ing] the French post-war song’ by ‘accomplishing the synthesis of popular song and true poetry’.

Post-War and Post-Apollinaire

Georges Auric ◽  
2020 ◽  
pp. 43-62
Author(s):  
Colin Roust
Keyword(s):  
World War I ◽  
Art Music ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Louis Aragon ◽  
Tristan Tzara ◽  
Philippe Soupault ◽  
Les Six ◽  
Post War ◽  
The One

After World War I, Auric’s many friendships placed him in a unique position in the Parisian avant-garde. On the one hand, he was alongside Louis Aragon, André Breton, Philippe Soupault, and Tristan Tzara for the rise and fall of Paris dada. On the other, he was a member of Les Six, the group of composers led by Jean Cocteau who came to represent Parisian art music in the 1920s. Throughout the feuds between the dadaists and Cocteau, Auric preserved his friendships and functioned as an ambassador of sorts between rival avant-garde groups. In the meantime, his scores for Cocteau’s Les mariés de la Tour Eiffel (with the rest of Les Six) and Molière’s Les fâcheux would lead to bigger and better opportunities in the mid-1920s.

Soziale Marktwirtschaft damals und heute

2020 ◽  
Vol 69 (1) ◽  
pp. 1-24
Author(s):  
Gunther Schnabl
Keyword(s):  
Political Stability ◽  
Social Market Economy ◽  
Social Stability ◽  
Basic Principles ◽  
The Social ◽  
Soziale Marktwirtschaft ◽  
Post War ◽  
Social Market ◽  
German Currency ◽  
Competition Growth

AbstractThe German currency reform on 20 June 1948, together with a comprehensive liberalization of prices as well as monopoly control formed the basis for the post-war West German economic miracle, which became the economic backbone of the European integration process. 70 years later, little remains of the basic principles of the social market economy. An increasingly expansive monetary policy of the European Central Bank undermines competition, growth and social cohesion in Europe, which puts political stability at risk. To ensure economic, political and social stability in Europe, a return to the principles of Walter Eucken und Ludwig Erhard is necessary.

scholarly journals Bas Jan Ader’s Ludic Conceptualism: Performing a transnational identity

Revista Farol ◽  
2021 ◽  
Vol 17 (24) ◽  
pp. 10-21
Author(s):  
Janna Schoenberger
Keyword(s):  
New York ◽  
United Kingdom ◽  
The Netherlands ◽  
Conceptual Art ◽  
Social Contexts ◽  
Central Feature ◽  
The United Kingdom ◽  
Post War ◽  
National Stereotypes

Following Huizinga’s ideas in his Homo Ludens (1938), I propose the term Ludic Conceptualism to describe the art that flourished in the Netherlands from 1959 to 1975. Unlike the more severe strands of conceptualism developed in New York and the United Kingdom, play was central to its Dutch incarnation. In this chapter I will show how Dutch conceptual artist Bas Jan Ader’s fixation on his identity, as staged through satirical jokes based on national stereotypes, is key in understanding his art. While a great deal of the humor is obvious in Ader’s work, there has been no serious inquiry into his comedic practice. I will position Ader within the framework of post-war humorous conceptual art prevalente both in the Netherlands and California, locales in which Ader had lived and studied. Using theories of humor and identity I will demonstrate how Ader’s jokes are closely tied to social contexts on both sides of the Atlantic, environments relevant to the artist’s development in the course of his short career. A close examination of Ader’s work will reveal that the artist’s blurred identity as seen in his use of humor is, in fact, a central feature of his art.

Women in Music

Music ◽  
2011 ◽  
Author(s):  
Heather Hadlock
Keyword(s):  
Musical Training ◽  
Art Music ◽  
Geographic Region ◽  
Social Contexts ◽  
Historical Narrative ◽  
Musical Aesthetics ◽  
Feminist Activism ◽  
Women In Music ◽  
Training Resources ◽  
Musical Activities

Our current understanding of women in music began to take shape within the context of second-wave feminist activism of the 1970s, with its mission of promoting women’s voices and perspectives in contemporary arts and in the history of the arts. In the domains of both popular and art music, female musicians promoted each others’ work through women-centered orchestras, choruses, bands, and ensembles; concerts and festivals of women’s music; female networks for teaching, collaboration, and mentorship; and independent labels for recording and distributing music by women. Composers such as Pauline Oliveros explored and cultivated feminist musical aesthetics. Historical researchers sought to recover female composers previously neglected by historians, and to integrate their lives and works into the music-historical narrative and art music canon. At the same time, the framing of issues in terms of “women and music” created new tensions. Gender-based advocacy, in the form of courses, journals, concerts, festivals, and record labels, was indispensable for raising awareness and creating opportunities for women in music, but also threatened to perpetuate their status as marginal to the dominant discourses and institutions of music. Third-wave feminists of the late 1980s and 1990s pointed out that norms of feminine and masculine roles and behavior vary widely across social contexts, and that there is no universal experience of “women.” Research on women in music increasingly focuses on how gender is enmeshed with other categories such as race, ethnicity, social class, geographic region, political affiliation, and sexual orientation. In any particular time and place, the intersection of all these factors creates the conditions for women’s access to musical training, resources, audiences, publication, and professional careers. Women’s musical activities and contributions have become more visible in musicology as the discipline has deepened its engagement with performers, with popular music, with nonwritten musical activities, and with music as social event and embodied practice. The study of women in music thus takes place within broader theoretical investigations of how music reproduces, affirms, subverts, and transforms cultural norms of gender and sexuality.

scholarly journals Economic Insecurity and Social Stability: An Exploration of One of Capitalism’s Vicious Cycles

2020 ◽  
pp. 089692052097025
Author(s):  
Costas Panayotakis
Keyword(s):  
Social Problems ◽  
Ecological Crisis ◽  
Normal Operation ◽  
Social Stability ◽  
Political Democracy ◽  
Economic Insecurity ◽  
Vicious Cycle ◽  
Social Unrest ◽  
Welfare Policies ◽  
Post War

This article analyzes how capitalism’s connection to economic insecurity can, rather than fomenting social unrest, facilitate its reproduction. Also responding to contrasts in the literature between rising insecurity in recent decades and the containment of insecurity in capitalism’s post-war “golden age,” this article explains why growing insecurity is more consistent with capitalism’s normal operation. Underlining the difficulty of replicating post-war efforts to mitigate insecurity through social and welfare policies, this article also sketches how the vicious cycle between capitalism and economic insecurity contributes to other serious social problems, including racism, sexism, xenophobia, the hollowing out of political democracy, and a deepening ecological crisis.

Derivative and indigenous in the history and historiography of child welfare in Australia: Part Two

2002 ◽  
Vol 27 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Shurlee Swain
Keyword(s):  
Child Welfare ◽  
Nation Building ◽  
Social Stability ◽  
Child Welfare Services ◽  
Indigenous Child ◽  
Limited Access ◽  
Indigenous Children ◽  
History Of ◽  
Post War ◽  
Building Project

This article traces the history of child welfare in Australia, showing the ways in which policies and practices, deriving primarily from Britain, were adopted and adapted in a nation in which jurisdiction was split between colonies/states and further divided, within states, on the basis of race. It argues that child welfare has always been part of the nation-building project, central to national objectives when children could be constructed as future citizens, marginal, and more punitive, when they were more easily understood as threats to social stability. In this second part, it discusses post-war developments in services for non-indigenous children, and indigenous child welfare services. It concludes with a discussion of the historiography of child welfare in Australia arguing that because, to date, historical writing has concentrated on localised or specialist studies, child welfare professionals have limited access to an understanding of the history of the systems within which they work.

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