Annegret Fauser
Biographic Data
| ID | 1653663 |
|---|---|
| NAME | Annegret Fauser |
| GIVEN NAMES | Annegret |
| FAMILY NAME | Fauser |
| SIGNATURE | FAUSER A |
| AFFILIATIONS | Perfect Harmony Health |
| VERIFIED | No |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 16 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
« L’orchestre dans les sons brave l’honnêteté… »: Le rôle de l’élément érotique dans l’œuvre de Massenet
Esclarmonde, un opéra de Jules Massenet créé à Paris en 1889 pendant l’Exposition Universelle, est un bon exemple de comment un livret basé sur des structures socialement conservatrices peut donner lieu à une expressivité musicalement progressive. Cet article propose une critique féministe de cet opéra, en se focalisant sur le rôle-titre et sur comment le livret et la partition articulent l’érotique et l’exotique. L’analyse part de la réception d…
Réflexions rétrospectives
C’est un lieu commun historiographique de dire que dans la musique occidentale « le plaisir de l’oreille » qu’invoque l’épigraphe de ce texte pouvait être un casse-tête. Du moine John de Salisbury, pour qui la nouvelle musique polyphonique du xiie siècle à la Cathédrale de Notre Dame occasionnait « un chatouillement entre les jambes plutôt qu’un sens de dévotion du cerveau », au politicien américain James P. Bradley qui en août 2020 dénonçait la …
“The Orchestra, in its Sounds, Defies Virtue…”: The Role of the Erotic in the Works of Massenet
Massenet’s opera Esclarmonde, premiered in Paris during the 1889 Exposition Universelle, offers a particularly powerful case study for the ways in which a libretto articulating socially conservative structures meshes with, and enables, musically progressive expressivity. This essay analyses the opera from a perspective of feminist critique, centering on the title role and providing a close reading of both libretto and score as they play with the …
Retrospective Reflections
It is a historiographical commonplace to say that, in Western music, the “pleasure of the ear” as mentioned in this text’s epigraph might be a challenge. From the monk John of Salisbury, who opined in the twelfth century that the new polyphonic music at Notre Dame aroused “titillation between the legs more readily than a sense of devotion in the brain”, to the American politician James P. Bradley who, in August 2020, was scandalised by the overt …
Sound, Music, War and Violence: Listening from the Archive
When the sonic remnants of violence and war survive in archives as being inscribed in such media as paper, it can be a challenge to engage with their aurality, all the more because subsequent audiovisual representations might overlay such embodied past experiences with different musical signifiers. Drawing on examples from the two world wars of the twentieth century, this contribution discusses which positionalities an author might embrace when l…
The Politics of Musical Identity: Selected Essays
This volume explores the way in which composers, performers, and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s. Selected essays and articles engage with works and their reception by Richard Wagner, Georges Bizet (in an American incarnation), Lili and Nadia Boulanger, William Grant Still, and Aaron Copland, and with performers such as Wanda Landowska and even Marilyn Monr…
Sounding the Tricolore: France and the United States during World War ii
During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus …
The Scholar behind the Medal: Edward J. Dent (1876-1957) and the Politics of Music History
This article engages with issues of musical historiography and politics - mainly in the 1930s and 1940s - through the example of Edward J. Dent, a towering figure of international musical and musicological life during that period. Dent's career was tightly interwoven with musical and musicological practice both in Britain and in the wider Western world. It offers a fascinating access point to European musical modernism on the one hand, and to mid…
French Music, Culture, and National Identity, 1870-1939
New, insightful essays from musicologists, historians, art historians, and literary scholars reconsider the relationship of Debussy, Gauguin, Zola, and other great French creative artists to cultural and political trends during the Third Republic.
Aaron Copland, Nadia Boulanger, and the Making of an "American" Composer
Journal Article Aaron Copland, Nadia Boulanger, and the Making of an “American” Composer Get access Annegret Fauser Annegret Fauser Email: [email protected] Search for other works by this author on: Oxford Academic Google Scholar The Musical Quarterly, Volume 89, Issue 4, Winter 2006, Pages 524–554, https://doi.org/10.1093/musqtl/gdm005 Published: 27 November 2007
Elsewhere and Erstwhile
The article reviews the books "Musical Encounters at the 1989 Paris World's Fair," by Annegret Fauser and "Interpreting the Musical Past: Early Music in Nineteenth-Century France," by Katherine Ellis
Creating Madame Landowska
THE FAMOUS POLISH HARPSICHORDIST Wanda Landowska has recently been characterized as an uncommon visionary and an epochal exception. (1) Such epithets recognize her as a singularly influential musician and, at the same time, mythologize her into a modern revolutionary who almost single-handedly initiated the worldwide revival of the twentieth century by championing above all the authentic performance of Bach on the harpsichord. Over the past seven…
Visual Pleasures-Musical Signs: Dance at the Paris Opéra
Massenet, Jules
Boulanger, (Marie-Juliette Olga) Lili
La Guerre en dentelles: Women and the Prix de Rome in French Cultural Politics
In 1903, one hundred years after the Prix de Rome had been created in music composition, women were allowed to participate in the competition for the first time. In 1913, Lili Boulanger became the first woman to win the prize, crowning the efforts of three others-Juliette Toutain, Hélène Fleury, and Nadia Boulanger-to achieve this goal. Their stories are fascinating case studies of the strategies women employed to achieve success and public recog…
Lili Boulanger's La Princesse Maleine: A Composer and her Heroine as Literary Icons
On 22 July 1917 Maurice Maeterlinck wrote to the composer Lili Boulanger: Dear Mademoiselle and Friend, All my thoughts are with you in your pain and your anxiety. But I have a confidence which comes to me from I don't know where and which I would like to share with you. I feel – I would nearly say, I know – that the child-genius who must give a voice to La princesse Maleine cannot pass away before having accomplished her work, which seems fused …
Creating Madame Landowska
THE FAMOUS POLISH HARPSICHORDIST Wanda Landowska has recently been characterized as an uncommon visionary and an epochal exception. (1) Such epithets recognize her as a singularly influential musician and, at the same time, mythologize her into a modern revolutionary who almost single-handedly initiated the worldwide revival of the twentieth century by championing above all the authentic performance of Bach on the harpsichord. Over the past seven…
The Scholar behind the Medal: Edward J. Dent (1876-1957) and the Politics of Music History
This article engages with issues of musical historiography and politics - mainly in the 1930s and 1940s - through the example of Edward J. Dent, a towering figure of international musical and musicological life during that period. Dent's career was tightly interwoven with musical and musicological practice both in Britain and in the wider Western world. It offers a fascinating access point to European musical modernism on the one hand, and to mid…
Lili Boulanger's La Princesse Maleine: A Composer and her Heroine as Literary Icons
On 22 July 1917 Maurice Maeterlinck wrote to the composer Lili Boulanger: Dear Mademoiselle and Friend, All my thoughts are with you in your pain and your anxiety. But I have a confidence which comes to me from I don't know where and which I would like to share with you. I feel – I would nearly say, I know – that the child-genius who must give a voice to La princesse Maleine cannot pass away before having accomplished her work, which seems fused …
La Guerre en dentelles: Women and the Prix de Rome in French Cultural Politics
In 1903, one hundred years after the Prix de Rome had been created in music composition, women were allowed to participate in the competition for the first time. In 1913, Lili Boulanger became the first woman to win the prize, crowning the efforts of three others-Juliette Toutain, Hélène Fleury, and Nadia Boulanger-to achieve this goal. Their stories are fascinating case studies of the strategies women employed to achieve success and public recog…
Massenet, Jules
Boulanger, (Marie-Juliette Olga) Lili
Visual Pleasures-Musical Signs: Dance at the Paris Opéra
Elsewhere and Erstwhile
The article reviews the books "Musical Encounters at the 1989 Paris World's Fair," by Annegret Fauser and "Interpreting the Musical Past: Early Music in Nineteenth-Century France," by Katherine Ellis
Creating Madame Landowska
THE FAMOUS POLISH HARPSICHORDIST Wanda Landowska has recently been characterized as an uncommon visionary and an epochal exception. (1) Such epithets recognize her as a singularly influential musician and, at the same time, mythologize her into a modern revolutionary who almost single-handedly initiated the worldwide revival of the twentieth century by championing above all the authentic performance of Bach on the harpsichord. Over the past seven…
Aaron Copland, Nadia Boulanger, and the Making of an "American" Composer
Journal Article Aaron Copland, Nadia Boulanger, and the Making of an “American” Composer Get access Annegret Fauser Annegret Fauser Email: [email protected] Search for other works by this author on: Oxford Academic Google Scholar The Musical Quarterly, Volume 89, Issue 4, Winter 2006, Pages 524–554, https://doi.org/10.1093/musqtl/gdm005 Published: 27 November 2007
French Music, Culture, and National Identity, 1870-1939
New, insightful essays from musicologists, historians, art historians, and literary scholars reconsider the relationship of Debussy, Gauguin, Zola, and other great French creative artists to cultural and political trends during the Third Republic.
The Scholar behind the Medal: Edward J. Dent (1876-1957) and the Politics of Music History
This article engages with issues of musical historiography and politics - mainly in the 1930s and 1940s - through the example of Edward J. Dent, a towering figure of international musical and musicological life during that period. Dent's career was tightly interwoven with musical and musicological practice both in Britain and in the wider Western world. It offers a fascinating access point to European musical modernism on the one hand, and to mid…
Sounding the Tricolore: France and the United States during World War ii
During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus …
The Politics of Musical Identity: Selected Essays
This volume explores the way in which composers, performers, and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s. Selected essays and articles engage with works and their reception by Richard Wagner, Georges Bizet (in an American incarnation), Lili and Nadia Boulanger, William Grant Still, and Aaron Copland, and with performers such as Wanda Landowska and even Marilyn Monr…
Sound, Music, War and Violence: Listening from the Archive
When the sonic remnants of violence and war survive in archives as being inscribed in such media as paper, it can be a challenge to engage with their aurality, all the more because subsequent audiovisual representations might overlay such embodied past experiences with different musical signifiers. Drawing on examples from the two world wars of the twentieth century, this contribution discusses which positionalities an author might embrace when l…
« L’orchestre dans les sons brave l’honnêteté… »: Le rôle de l’élément érotique dans l’œuvre de Massenet
Esclarmonde, un opéra de Jules Massenet créé à Paris en 1889 pendant l’Exposition Universelle, est un bon exemple de comment un livret basé sur des structures socialement conservatrices peut donner lieu à une expressivité musicalement progressive. Cet article propose une critique féministe de cet opéra, en se focalisant sur le rôle-titre et sur comment le livret et la partition articulent l’érotique et l’exotique. L’analyse part de la réception d…
Réflexions rétrospectives
C’est un lieu commun historiographique de dire que dans la musique occidentale « le plaisir de l’oreille » qu’invoque l’épigraphe de ce texte pouvait être un casse-tête. Du moine John de Salisbury, pour qui la nouvelle musique polyphonique du xiie siècle à la Cathédrale de Notre Dame occasionnait « un chatouillement entre les jambes plutôt qu’un sens de dévotion du cerveau », au politicien américain James P. Bradley qui en août 2020 dénonçait la …
“The Orchestra, in its Sounds, Defies Virtue…”: The Role of the Erotic in the Works of Massenet
Massenet’s opera Esclarmonde, premiered in Paris during the 1889 Exposition Universelle, offers a particularly powerful case study for the ways in which a libretto articulating socially conservative structures meshes with, and enables, musically progressive expressivity. This essay analyses the opera from a perspective of feminist critique, centering on the title role and providing a close reading of both libretto and score as they play with the …
Retrospective Reflections
It is a historiographical commonplace to say that, in Western music, the “pleasure of the ear” as mentioned in this text’s epigraph might be a challenge. From the monk John of Salisbury, who opined in the twelfth century that the new polyphonic music at Notre Dame aroused “titillation between the legs more readily than a sense of devotion in the brain”, to the American politician James P. Bradley who, in August 2020, was scandalised by the overt …
Art (13 works) · Musicology and Musical Analysis (9 works) · French Historical and Cultural Studies (8 works) · Aesthetics (7 works) · History (6 works) · Literature (6 works) · Musical (6 works) · Political science (6 works) · Visual arts (6 works) · Historical Studies and Socio-cultural Analysis (5 works)