Jane F Fulcher
Datos Biográficos
| ID | 354076 |
|---|---|
| NOMBRE | Jane F Fulcher |
| NOMBRES | Jane F |
| APELLIDO | Fulcher |
| FIRMA | FULCHER J F |
| AFILIACIONES | Professor of Music, Indiana University |
| VERIFICADO | No |
| TOTAL DE OBRAS | 19 |
| TOTAL DE CITAS | 13 |
| TOTAL COMO AUTOR | 15 |
| TOTAL COMO EDITOR | 4 |
| PRIMER AÑO DE PUBLICACIÓN | 1980 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2011 |
| ÍNDICE H | 2 |
Yvette Guilbert and the Revaluation of the Chanson Populaire and Chanson Ancienne during the Third Republic, 1889–1914
This article identifies the ideological subtexts that pushed Yvette Guilbert to create supposedly new repertoire that was dedicated to the celebration of the chanson populaire and the chanson ancienne . It looks at how Guilbert defined her conception of the “canon” of the chanson through its process of historicization, and examines Guilbert's career up to 1914. This article also studies her early pedagogical career, in light of the other modern p…
The Oxford Handbook of the New Cultural History of Music
The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed sy…
Opera and Society in Italy and France from Monteverdi to Bourdieu
This edited volume brings together academic specialists writing on the multi-media operatic form from a range of disciplines: comparative literature, history, sociology, and philosophy. The presence in the volume's title of Pierre Bourdieu, the leading cultural sociologist of the late twentieth century, signals the editors' intention to synthesise advances in social science with advances in musicological and other scholarship on opera. Through a …
French Identity in Flux
Why did the Paris Opera stage Arthur Honegger's Antigone in 1943, sixteen years after rejecting it for being too modernist? Recent theories of modernism reveal how the later production was able to penetrate the cultural "spaces" inadvertently created during Vichy's collaboration with Germany. The opera appealed not only to the German-and French-authorized press but also to the public, which viewed it as a work of existential examination, free fro…
The Composer as Intellectual
In 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 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 w…
La politique de la transcendance
A la différence de la plupart des études consacrées au jeune Messiaen et au mouvement Jeune France, qui s'en tiennent le plus souvent à une approche musicologique ou à l'analyse du contexte politique ou religieux qui les entourèrent, cet article met l'accent sur la façon dont Messiaen et Jeune France se sont situés par rapport aux grands courants idéologiques et esthétiques des années 1930. Après avoir évoqué les principales sensibilités esthétiq…
Doing Debussy
Debussy and His World
French Cultural Politics and Music
This book argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in terms of the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action. Applying recent insights from French history, sociology, political anthropology, and literary theory, the book reveals how nation…
French Cultural Politics and Music from the Dreyfus Affair to the First World War
Concert et propagande politique en France au Début du 20eSiècle
Peu avant sa mort, survenue en 1910, Louis Bourgault-Ducoudray, professeur d'histoire de la musique au Conservatoire de Paris, reçut un jour la visite d'un invité peu commun. Celui-ci, raconte Bourgault-Ducoudray dans une lettre non datée, était membre de l'Action française, mouvement monarchiste pour lequel le professeur, quoique officiant dans une institution républicaine, éprouvait une sympathie voilée. Le but de cet émissaire singulier ? Cons…
French Cultural Politics & Music
This book argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in terms of the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action. Applying recent insights from French history, sociology, political anthropology, and literary theory, the book reveals how nation…
Did British Society Change Character in the 1920s or the 1980s
This is a response to Runciman's reply to my critique of his 1993 article. I argue that although the First World War brought about many changes in British society, it did not initiate a new stage in its development, for these changes were largely an acceleration of existing tendencies. Runciman's argument that the similarities between the 1930s and the 1980s show that British capitalism was essentially the same in both periods does not allow for …
Style musical et enjeux politiques en France
Musical Style, Meaning, and Politics This article concerns both how and why French music was pulled into the political-cultural battle between the Popular Front and its opponents in the later 1930s. It explores the way in which the new government used music as a political tool, as it became a major source of support for composers in a period of harsh economie depression. The Popular Front was able to recruit important French musicians and, it was…
Artists under Vichy
Charpentier's Operatic "Roman Musical" as Read in the Wake of the Dreyfus Affair
Like many other works presented at the Operacomique at the turn of the century, Gustave Charpentier's Louise was far from a conventional opera-comique: devoid of spoken dialogue, it relied rather on Wagnerian dramaturgy; even its melodic style, as a whole, was distant from the theater's lyric traditions. Charpentier himself proudly emphasized the opera's originality by abjuring traditional generic terms and boldly labeling it a roman musical; und…
Style musical et symbolisme politique en France. L'impact de l'affaire Dreyfus
Les historiens de la musique de la fin du xixe siècle n'ont pas coutume de considérer l'année 1895 comme un point de rupture stylistique. Le terme de « Renouveau », traditionnellement utilisé à propos de la musique française pour décrire la nouvelle stylistique qui se développe entre la guerre franco-prussienne et la Première Guerre mondiale, a contribué à atténuer de telles distinctions internes. Il est plus courant de distinguer les trente dern…
The Nation's Image. French Grand Opéra as Politics and Politicized Art
The Popular Chanson of the Second Empire
The Oxford Handbook of the New Cultural History of Music
The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed sy…
Concert et propagande politique en France au Début du 20eSiècle
Peu avant sa mort, survenue en 1910, Louis Bourgault-Ducoudray, professeur d'histoire de la musique au Conservatoire de Paris, reçut un jour la visite d'un invité peu commun. Celui-ci, raconte Bourgault-Ducoudray dans une lettre non datée, était membre de l'Action française, mouvement monarchiste pour lequel le professeur, quoique officiant dans une institution républicaine, éprouvait une sympathie voilée. Le but de cet émissaire singulier ? Cons…
French Identity in Flux
Why did the Paris Opera stage Arthur Honegger's Antigone in 1943, sixteen years after rejecting it for being too modernist? Recent theories of modernism reveal how the later production was able to penetrate the cultural "spaces" inadvertently created during Vichy's collaboration with Germany. The opera appealed not only to the German-and French-authorized press but also to the public, which viewed it as a work of existential examination, free fro…
Did British Society Change Character in the 1920s or the 1980s
This is a response to Runciman's reply to my critique of his 1993 article. I argue that although the First World War brought about many changes in British society, it did not initiate a new stage in its development, for these changes were largely an acceleration of existing tendencies. Runciman's argument that the similarities between the 1930s and the 1980s show that British capitalism was essentially the same in both periods does not allow for …
The Popular Chanson of the Second Empire
Style musical et symbolisme politique en France. L'impact de l'affaire Dreyfus
Les historiens de la musique de la fin du xixe siècle n'ont pas coutume de considérer l'année 1895 comme un point de rupture stylistique. Le terme de « Renouveau », traditionnellement utilisé à propos de la musique française pour décrire la nouvelle stylistique qui se développe entre la guerre franco-prussienne et la Première Guerre mondiale, a contribué à atténuer de telles distinctions internes. Il est plus courant de distinguer les trente dern…
The Nation's Image. French Grand Opéra as Politics and Politicized Art
Charpentier's Operatic "Roman Musical" as Read in the Wake of the Dreyfus Affair
Like many other works presented at the Operacomique at the turn of the century, Gustave Charpentier's Louise was far from a conventional opera-comique: devoid of spoken dialogue, it relied rather on Wagnerian dramaturgy; even its melodic style, as a whole, was distant from the theater's lyric traditions. Charpentier himself proudly emphasized the opera's originality by abjuring traditional generic terms and boldly labeling it a roman musical; und…
Artists under Vichy
Style musical et enjeux politiques en France
Musical Style, Meaning, and Politics This article concerns both how and why French music was pulled into the political-cultural battle between the Popular Front and its opponents in the later 1930s. It explores the way in which the new government used music as a political tool, as it became a major source of support for composers in a period of harsh economie depression. The Popular Front was able to recruit important French musicians and, it was…
Did British Society Change Character in the 1920s or the 1980s
This is a response to Runciman's reply to my critique of his 1993 article. I argue that although the First World War brought about many changes in British society, it did not initiate a new stage in its development, for these changes were largely an acceleration of existing tendencies. Runciman's argument that the similarities between the 1930s and the 1980s show that British capitalism was essentially the same in both periods does not allow for …
French Cultural Politics & Music
This book argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in terms of the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action. Applying recent insights from French history, sociology, political anthropology, and literary theory, the book reveals how nation…
French Cultural Politics and Music from the Dreyfus Affair to the First World War
Concert et propagande politique en France au Début du 20eSiècle
Peu avant sa mort, survenue en 1910, Louis Bourgault-Ducoudray, professeur d'histoire de la musique au Conservatoire de Paris, reçut un jour la visite d'un invité peu commun. Celui-ci, raconte Bourgault-Ducoudray dans une lettre non datée, était membre de l'Action française, mouvement monarchiste pour lequel le professeur, quoique officiant dans une institution républicaine, éprouvait une sympathie voilée. Le but de cet émissaire singulier ? Cons…
Debussy and His World
French Cultural Politics and Music
This book argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in terms of the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action. Applying recent insights from French history, sociology, political anthropology, and literary theory, the book reveals how nation…
Doing Debussy
La politique de la transcendance
A la différence de la plupart des études consacrées au jeune Messiaen et au mouvement Jeune France, qui s'en tiennent le plus souvent à une approche musicologique ou à l'analyse du contexte politique ou religieux qui les entourèrent, cet article met l'accent sur la façon dont Messiaen et Jeune France se sont situés par rapport aux grands courants idéologiques et esthétiques des années 1930. Après avoir évoqué les principales sensibilités esthétiq…
The Composer as Intellectual
In 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 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 w…
French Identity in Flux
Why did the Paris Opera stage Arthur Honegger's Antigone in 1943, sixteen years after rejecting it for being too modernist? Recent theories of modernism reveal how the later production was able to penetrate the cultural "spaces" inadvertently created during Vichy's collaboration with Germany. The opera appealed not only to the German-and French-authorized press but also to the public, which viewed it as a work of existential examination, free fro…
Opera and Society in Italy and France from Monteverdi to Bourdieu
This edited volume brings together academic specialists writing on the multi-media operatic form from a range of disciplines: comparative literature, history, sociology, and philosophy. The presence in the volume's title of Pierre Bourdieu, the leading cultural sociologist of the late twentieth century, signals the editors' intention to synthesise advances in social science with advances in musicological and other scholarship on opera. Through a …
Yvette Guilbert and the Revaluation of the Chanson Populaire and Chanson Ancienne during the Third Republic, 1889–1914
This article identifies the ideological subtexts that pushed Yvette Guilbert to create supposedly new repertoire that was dedicated to the celebration of the chanson populaire and the chanson ancienne . It looks at how Guilbert defined her conception of the “canon” of the chanson through its process of historicization, and examines Guilbert's career up to 1914. This article also studies her early pedagogical career, in light of the other modern p…
The Oxford Handbook of the New Cultural History of Music
The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed sy…
Art (17 obras) · History (14 obras) · French Historical and Cultural Studies (13 obras) · Historical Studies and Socio-cultural Analysis (12 obras) · Law (12 obras) · Political science (12 obras) · Literature (11 obras) · Politics (11 obras) · Musicology and Musical Analysis (10 obras) · Sociology (8 obras)