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Jazz in France, 1934-75: contesting the politics of nation, art and world through music

法国爵士乐，1934-75 年：通过音乐对抗国家、艺术和世界的政治

基本信息

批准号：
AH/I027444/1
负责人：
Tom Perchard
金额：
$ 8.26万
依托单位：
Goldsmiths University of London
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2012
资助国家：
英国
起止时间：
2012 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FI027444%2F1
关键词：
Jazz France 1934 75 contesting

项目摘要

This book project traces the ways that French ideas and practices of jazz, originally an American import, were shaped according to the changing local concerns described in the title's key terms, and in each of 3 section headings: 1) NATION. This section focuses on Hugues Panassié - the leading critical authority on jazz in Europe before WWII - and the fan society the Hot-club de France, of which Panassié was president. In chapter 1 I explore the volatile French and European politics of the 1930s, and trace Panassié's intellectual and religious formation, to show how trends in nationalist, anti-modernist French Catholic thought informed the critic's highly influential conceptualisation of jazz as primitive folk expression. In chapter 2 I examine how, in creating a pedagogic canon of jazz recordings for Hot-club members - and demonstrating in prose and person how the recorded music should be felt - Panassié aimed via the phonograph to educate the 'alienated' modern French in the ways of 'groove' and an embodied black musical culture. Panassié's insights into jazz, though products of an obsession with racial exceptionalism, are often musically valuable; here I also ask what use we might make of such tainted knowledge, and how contemporary attitudes towards difference sometimes repeat historical follies. 2) ART. In trying to escape the primitivism that early writers had accorded jazz-as-folk expression, post-war French critics began to construct for the style a framework of value - based on ideas of historical progression and the individual genius - transferred, problematically, from the Western art tradition. Chapter 3 examines analytically the work of the jazz composer/critic André Hodeir, who sought to overcome worries of French 'inauthenticity' by assimilating the foreign (jazz improvisation) into the familiar (his own art music composition). This topic is examined from the reverse angle in chapter 4, which discusses the reception French critics, including Hodeir, accorded Thelonious Monk. In the 1950s Monk was revered for his innovative, 'authentic' improvisation, but in the early-60s French writers began to censure the pianist for having ceased to 'evolve', and, in 1964, for presenting 'composed' improvisations in several Paris performances; each representing and practising music traditions imagined not fully accessible to the other, Monk and Hodeir embodied anxieties around authenticity and synthesis which, as well as being identifiable in 60s French critical discourse, I show still to be current. 3) WORLD. This section tracks the ways that artists and critics made use of an 'American' music to critique US and global political issues in the 1960s. In chapter 5 I examine jazz in French cinema, specifically that of Jean-Luc Godard. For a post-war generation fascinated by American cultural genres, Martial Solal's soundtrack to 1960's À bout de souffle reinforced ideals of cosmopolitan modernity; but like jazz itself, this representation was gradually overwhelmed by radicalised images of African American cultural and political activity which, in films like 1968's One Plus One, were mobilised to attack US policy. This reception of US black liberation politics also became central to jazz media discourses; in chapter 6 I argue that in magazines like Jazz-hot, critics, musicians and letter-writing fans can be seen using 'musical' debates to explore France's place in the post-colonial world. This exploration is also the subject of a close reading of Barney Wilen's 1970s album Moshi, assembled from jazz improvisation, politicized song lyrics and field recordings taken by the saxophonist in the former French Africa. In conclusion the chapter examines the 1970s dissipation of both jazz and radical politics as forces in France, and the ways in which classic images of this French jazz history - like that of Josephine Baker, who, at the study's end, dies in Paris as a Knight of the Legion d'Honneur - have since been put to cultural use.

这本书的项目跟踪的方式，法国的想法和做法的爵士乐，最初是一个美国进口，是根据不断变化的当地关注的标题的关键术语，并在每3节标题：1）国家。本节重点介绍Hugues Panassié -二战前欧洲爵士乐的主要批评权威-以及Panassié担任主席的法国热俱乐部的粉丝协会。在第一章中，我探讨了20世纪30年代动荡的法国和欧洲政治，并追溯了帕纳西的思想和宗教形成，以展示民族主义、反现代主义法国天主教思想的趋势如何影响了评论家将爵士乐视为原始民间表达的极具影响力的概念。在第二章中，我研究了如何，在创建一个教学佳能的爵士乐录音热俱乐部的成员-并证明在散文和人如何记录的音乐应该感觉- Panassié旨在通过留声机教育的“异化”现代法国的方式“槽”和体现黑人音乐文化。Panassié对爵士乐的见解，虽然是对种族例外论的痴迷的产物，但通常在音乐上是有价值的;在这里，我也问我们可以利用这种污染的知识，以及当代对差异的态度有时会重复历史的愚蠢。2)艺术：为了摆脱早期作家赋予爵士乐民间表达的原始主义，战后的法国评论家开始为这种风格构建一个价值框架--基于历史发展和个人天才的思想--从西方艺术传统中转移过来，这是有问题的。第三章分析了爵士乐作曲家/评论家安德烈·霍德尔的作品，他试图通过将外国（爵士乐即兴创作）融入熟悉的（他自己的艺术音乐作品）来克服法国人对“不真实”的担忧。第四章则从反面的角度对这一问题进行了探讨，讨论了包括霍代尔在内的法国批评家对蒙克的接受。在20世纪50年代，蒙克因其创新的、“真实的”即兴创作而受到尊敬，但在60年代初，法国作家开始指责这位钢琴家停止了“进化”，并于1964年在几场巴黎演出中提出了“精心创作的”即兴创作;每一个都代表和实践着想象中的音乐传统，蒙克和霍代尔体现了对真实性和综合性的焦虑，这在60年代的法国批评话语中也是可以识别的，我认为仍然是当前的。3)世界本节追踪艺术家和评论家如何利用“美国”音乐来批评20世纪60年代的美国和全球政治问题。在第五章中，我考察了法国电影中的爵士乐，特别是让-吕克·戈达尔的电影。对于对美国文化类型着迷的战后一代人来说，Martial Solal为1960年的《Souffle》所做的配乐加强了世界性现代性的理想;但就像爵士乐本身一样，这种表现逐渐被非洲裔美国人文化和政治活动的激进形象所淹没，在1968年的《一加一》等电影中，这些形象被动员起来攻击美国政策。这种对美国黑人解放政治的接受也成为爵士乐媒体话语的核心;在第6章中，我认为在像Jazz-hot这样的杂志中，评论家，音乐家和写信的粉丝可以看到使用“音乐”辩论来探索法国在后殖民世界中的地位。这种探索也是一个主题的密切阅读巴尼威伦的20世纪70年代专辑莫希，汇集了爵士乐即兴，政治化的歌词和现场录音所采取的萨克斯管手在前法属非洲。最后，本章考察了20世纪70年代爵士乐和激进政治在法国的消散，以及法国爵士乐史上的经典形象--比如约瑟芬·贝克（Josephine Baker），她在研究结束时以荣誉军团骑士的身份在巴黎去世--此后被用于文化用途的方式。