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101	0		_aeng
102			_aPT
200	1		_aThe Composer As Intellectual Music and Ideology in France, 1914-1940 _emusic and ideology in France 1914-1940 _fJane F Fulcher _gJane F. Fulcher
210			_a[s.l] _cOxford University Press, USA _d2005
215			_a488p.
330			_aIn 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.
606			_913145 _aComposers
606			_938406 _aMusic - History and criticism
606			_938474 _aMusic - Political aspects
606			_938478 _aMusic - Social aspects
676			_a780/.944/09041
680			_aML270.5.F83 2005
700	0		_9148197 _aJane F Fulcher
702	0		_9148198 _aJane F. Fulcher
801			_aPT _bCESEM _c20090214
859			_u/Users/cesem/Library/Application Support/Book Collector/Images/The Composer As Intellectual: Music and 13723_f.jpg
942			_n0 _cMON
999			_a152544 _c2021-07-08 _bUNL-FCSH - GLOBAL