Documents found
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165.More information
The research project “History of Musical Aesthetics in France, 1900-1950” (phem) aims at uncovering the music-aesthetic debate of that period through a thorough examination of the press and the development of a data-base. This paper provides an introduction to a series of publications linked to the phem. It discusses the theoretical frame and methodology of the project.
Keywords: 1900-1950, discours, esthétique musicale, France, presse musicale, 1900-1950, aesthetics of music, discourse, France, musical press
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166.More information
This article has two goals. First, it proposes a detailed analysis of the interference between the text (in its formal and semantic aspects) and the musical structures in Arnold Schoenberg's Pierrot lunaire. The results suggest that the text-music relation in this work must be conceived of as heterogeneous and extremely ambivalent. The second goal is to show that such an analysis needs to be elaborated within a more general theoretical reflection about, on the one hand, the very conditions of possibility of the musical-textual interference and, on the other hand, the descriptive tools the researcher has at his disposition to reveal them.
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167.More information
In 1922, the daily cultural journal Comoedia launches the competition “Art and Sport”, which asks musicians, poets and architects to “glorify the modern athlete”. The winning musical piece, Cortège d'athlètes by Louis Vuillemin, is an overtly military and nationalistic work. This article traces out the relationship between gymnastics, sport and music in France from 1870 to the beginning of the 1920s, in order to understand how and why a military music connected to sport came about.
Keywords: sport, France, Troisième République, chanson, musique militaire, sport, France, Third Republic, song, military music
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168.
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170.More information
The problematics of ethics and law as they relate to music revolve around concepts such as work, author, property, and use that seem distant from the ethical parameters of many musical traditions. This article explores these parameters by examining classical discourses associated with different Asian cultures and sheds light on them by means of telling anecdotes on the behaviours, attitudes, and ways of thinking of those who preserve musical knowledge. Moral and personal dispositions, or èthos, function as the foundation of ethos, that is, of an ethics ideally required by Tradition to guarantee the successful transmission of musical culture. This model, however, has been challenged in the modern era, on the one hand because of a slippage of authenticity from object towards the subject, and on the other hand because of the impersonal mode of transmission in mass media.