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Maurice Ravel's operas L'Heure espagnole (1907/1911) and L'Enfant et les sortilèges (1919–25) are pivotal works in the composer's relatively small œuvre. Emerging from periods shaped by very distinct musical concerns and historical circumstances, these two vastly different works nevertheless share qualities that reveal the heart of Ravel's compositional aesthetic. In this comprehensive study, Emily Kilpatrick unites musical, literary, biographical and cultural perspectives to shed new light on Ravel's operas. In documenting the operas' history, setting them within the cultural canvas of their creation and pursuing diverse strands of analytical and thematic exploration, Kilpatrick reveals crucial aspects of the composer's working life: his approach to creative collaboration, his responsiveness to cultural, aesthetic and musical debate, and the centrality of language and literature in his compositional practice. The first study of its kind, this book is an invaluable resource for students, specialists, opera-goers and devotees of French music.
Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
A groundbreaking look at the transition to sound in the French Cinema.
Before the Vichy regime, there was ostensibly only one France and one form of colonialism for French West Africa (FWA). World War II and the division of France into two ideological camps, each asking for legitimacy from the colonized, opened for Africans numerous unprecedented options. French Colonialism Unmasked analyzes three dramatic years in the history of FWA, from 1940 to 1943, in which the Vichy regime tried to impose the ideology of the National Revolution in the region. Ruth Ginio shows how this was a watershed period in the history of the region by providing an in-depth examination of the Vichy colonial visions and practices in fwa. She describes the intriguing encounters between the colonial regime and African society along with the responses of different sectors in the African population to the Vichy policy. Although French Colonialism Unmasked focuses on one region within the French Empire, it has relevance to French colonial history in general by providing one of the missing pieces in research on Vichy colonialism. Ruth Ginio is a research fellow at the Harry S. Truman Research Institute for the Advancement of Peace in the Hebrew University of Jerusalem. She is the author of articles in International Journal of African Historical Studies, Revue d'histoire moderne et contemporaine, Cahiers d'etudes africaines, and several other journals.
''... brilliantly original ... brings cultural and post-colonial theory to bear on a wide range of authors with great skill and sensitivity.' Terry Eagleton
"A new novel from the author of Oleander Girl, a novel in stories, built around crucial moments in the lives of 3 generations of women in an Indian/Indian-American Family"--
Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and René Clair, he was one of few genuinely cross-disciplinary composers. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.
In an effort to restore its world-power status after the humiliation of defeat and occupation, France was eager to maintain its overseas empire at the end of the Second World War. Yet just fifteen years later France had decolonized, and by 1960 only a few small island territories remained under French control.The process of decolonization in Indochina and Algeria has been widely studied, but much less has been written about decolonization in France's largest colony, French West Africa. Here, the French approach was regarded as exemplary -- that is, a smooth transition successfully managed by well intentioned French politicians and enlightened African leaders. Overturning this received wisdom, Chafer argues that the rapid unfurling of events after the Second World War was a complex , piecemeal and unpredictable process, resulting in a 'successful decolonization' that was achieved largely by accident. At independence, the winners assumed the reins of political power, while the losers were often repressed, imprisoned or silenced.This important book challenges the traditional dichotomy between 'imperial' and 'colonial' history and will be of interest to students of imperial and French history, politics and international relations, development and post-colonial studies.
"French Music and Trauma Between the World Wars illustrates that coping with trauma was a central concern for French musicians active after World War I. The losses and violent warfare of World War I shaped how interwar French musicians-from those fighting in the trenches and working in military hospitals to more well-known musicians-engaged with music. Situated at the intersections of musicology, history, sound and performance studies, and psychology and trauma studies, Resonant Recoveries argues that modernists' compositions and musical activities were sonorous locations for managing and performing trauma. Through analysis of archival materials, French medical, philosophical, and literary texts, and the music produced between the wars, this book illuminates how music emerged during World War I as an embodied technology of consolation. Resonant Recoveries demonstrates that music making came to be understood by French interwar musicians as a consolatory practice that enhanced their abilities to remember lost loved ones, gave them opportunities to perform their grief publicly and privately, allowed them to create healing bonds of friendship, and soothed them with sonic vibrations and the rhythmically regular bodily movements required in order to perform many French neoclassical compositions. In revealing the importance music making held for interwar French musicians, this book refigures French modernist music as a therapeutic medium for creators, performers, and audiences, while also underlining the importance of addressing trauma, mourning, and people's emotional lives in music scholarship"--