French Musical Modernisms: aesthetics and criticism

两次世界大战之间的法国音乐经常被认为是有问题的。德彪西于1918年死于战争，这对许多人来说意味着失去了一位重要的音乐领袖，法国音乐辉煌时期的衰落。年轻一代声称，他们提供了一些新的和不同于他们的前辈。他们明显拒绝既定的传统和前卫的方面，导致他们相对孤立于主流现代主义。此外，一战后的法国与新古典主义有关，直到最近，新古典主义才将斯特拉文斯基从音乐现代主义的叙述中边缘化。奖学金项目重新评估了1913年至二战期间的法国音乐和美学。它追溯了两个明显不相容的世代之间的连续性和不连续性，特别关注象征主义美学如何转变为与第一次世界大战后时期相关的现代主义。在这样做的过程中，它与经历了类似转变的文学和艺术家人物联系起来。该项目选择了法国与其他地方的超现代音乐密切相关的时刻。1913年是起点，这并不是因为斯特拉文斯基的《春之祭》对新音乐产生了如此重大的影响，而是因为许多作品受到了勋伯格的《月之彼埃尔》的启发：斯特拉文斯基的《日本歌词》和拉威尔的《三首旋律》。他们独特的反应揭示了独立但重叠的音乐关注点，特别是与响亮，乐器组合，声音和音调。1922年，勋伯格的《月光下的皮埃罗》和斯特拉文斯基的《马夫拉》在巴黎首演时，这种融合再次上演。该项目追溯了室内乐和芭蕾舞领域其他重要的现代主义流派，这些流派起源于战争时期，但在20世纪20年代取得了成果。该项目探讨了德彪西在第一次世界大战后是如何被人们记住的，以及这对新音乐辩论的影响。它考虑了新闻界在制定议程，塑造音乐辩论和影响公众舆论方面的重要作用。这一时期的批评家与作曲家的互动是惊人的，并表明了我们目前媒体主导的世界中所熟悉的共谋。这些争论的核心是法国音乐的未来方向以及谁应该领导它。索伦托和拉威尔作为两个分裂法国音乐界的人物出现，更重要的是，组成Les Six的年轻作曲家;该项目考察了作曲家和评论家参与的音乐论战。这项研究揭示了这一时期新兴的音乐优先事项和品质，重点关注一个可以追溯到战争并在20世纪20年代确立的不安共识，包括“风格dépouillé”，对位和旋律。它着眼于压力，以符合和审查作曲家的尝试，以工作或反对明显的共识，例如，米约在20世纪20年代和普朗克和索盖在20世纪30年代。在努力重新评估音乐在两次世界大战之间的法国流行的观点之一，肤浅，世俗主义和古典主义，该研究项目提供了一个更细致入微的了解这一时期及其与其他欧洲现代主义的发展互动。最后，它反映了如何理解这一时期已形成的档案本身，由早期的传记作家和有影响力的人物，如布列兹。

The interwar period in French music is often seen as problematic. Debussy's war-time death in 1918 signalled for many the loss of a significant musical leader and the decline of a glorious period of French music. The younger generation claimed that they were offering something new and distinct from their immediate predecessors. Their apparent rejection of established traditions and of aspects of the avant-garde has resulted in their relative isolation from mainstream modernism. Moreover, post World War 1 France is associated with the neoclassicism that marginalized Stravinsky from narratives of musical modernism until relatively recently.The Fellowship project reassesses French music and aesthetics from 1913 until World War 2. It traces continuities as well as discontinuities between two apparently incompatible generations, looking in particular at how a Symbolist aesthetic transformed into the modernism associated with the post-World War 1 period. In so doing, it makes links with literary and artist figures who underwent comparable transformations. The project selects moments when France was closely engaged with ultra-modern music elsewhere. 1913 is the starting point, not so much for Stravinsky's _Rite of Spring_, which made such a momentous impact on new music, but because of a number of works that were inspired by Schoenberg's _Pierrot lunaire_: Stravinsky's _Japanese Lyrics_ and Ravel's _Trois mélodies_. Their distinctive responses reveal the separate but overlapping musical preoccupations, in particular, with sonority, instrumental combinations, the voice and tonality. This convergence was played out again in 1922 with the first performance of Schoenberg's _Pierrot lunaire_ in Paris and Stravinsky's _Mavra_. The project traces other significant modernist strands in the areas of chamber music and ballet, which have their roots in the war period, but came to fruition in the 1920s.The project examines how Debussy was remembered after WW1 and the impact this had on debates about new music. It considers the significant role of the press in setting the agenda, shaping musical debates and influencing public opinion. The interaction of critics with composers of this period is striking and suggests a complicity that is familiar in our current media-led world. Central to these debates was the future orientation of French music and who should lead it. Satie and Ravel emerge as two figures who divided French musical circles and, more crucially, the young composers who formed Les Six; the project examines the musical polemics in which composers and critics were engaged. The research uncovers the emerging musical priorities and qualities of this period, focusing on an uneasy consensus that can be traced to the war and became established in the 1920s, including, the 'style dépouillé', counterpoint and melody. It looks at the pressure to conform and examines composers' attempts to work with or against the apparent consensus, for example, Milhaud in the 1920s and Poulenc and Sauguet in the 1930s. In striving to reassess the prevailing view of music in interwar France as one of frivolity, superficiality, secularism and classicism, the research project provides a more nuanced understanding of the period and its interaction with other European modernist developments. Finally, it reflects on how an understanding of this period has been shaped by the archives themselves, by early biographers and by influential figures, such as Boulez.