Jann Pasler

Biographic Data

ID3597420
NAMEJann Pasler
GIVEN NAMESJann
FAMILY NAMEPasler
SIGNATUREPASLER J
AFFILIATIONSUniversity of California San Diego
VERIFIEDNo
TOTAL WORKS38
TOTAL CITATIONS10
AUTHOR COUNT34
EDITOR COUNT3
FIRST PUBLICATION YEAR1984
LATEST PUBLICATION YEAR2024
H-INDEX2

  • Co-producing knowledge and Morocco's musical heritage: A Relational Paradigm for Colonial Scholarship

    Open AccessJann PaslerARTICLEThe Journal of North African…2024References: 26

    The musical dimensions of the Moroccan Protectorate invite us to rethink certain tenets of colonial history, especially lingering nineteenth-century attitudes about 'indigenous' populations as 'savage'. By the mid-twentieth century, efforts to comprehend Moroccan music were far less motivated by domination and submission than other agendas, beginning with 'cultural protection' to justify French presence, the Protectorate's priority since arrival.…

  • Confronting Stravinsky: Man, Musician, and Modernist

    Jann PaslerBOOKConfronting Stravinsky2023

  • Musical Hybridity in Flux: Representing Race, Colonial Policy, and Modernity in French North Africa, 1860s-1930s

    Jann Pasler, Jann Pasler Jann PaslerARTICLEAfrika Zamani2022

    Colonialism posed the challenge of coexistence amid almost insurmountable differences. Music had long been considered an audible representation of these differences, the performance of intelligence, character, and even soul. However, if music offered a way to understand traditions and values of other peoples, the context for this was racial theories - monogenism and polygenism - and racial hierarchies based on stereotypes. Depending on one’s orie…

  • Saint-Saëns and d’Indy in Dialogue

    Open AccessJann PaslerCHAPTERCamille Saint-Saëns and His World2021

  • Saint-Saëns, “Algerian by Adoption”

    Open AccessJann PaslerCHAPTERCamille Saint-Saëns and His World2021

  • Saint-Saëns, the Playful: From Le Guide de concert (1914)

    PAUL VIARDOT, Jann PaslerCHAPTERCamille Saint-Saëns and His World2021

  • Camille Saint-Saëns and His World

    Camille Saint-Saens, Jann PaslerBOOKCamille Saint-Saëns and His World2021

  • Music and African Diplomacy at the Festival Mondial des Arts Nègres, Dakar, 1966

    Jann PaslerARTICLEDiplomatica2021Cited by: 1

    To celebrate independence from France and promote better understanding between “continents, races, and cultures,” in 1966 Senegal produced the World Festival of Negro Arts. Forty-five nations participated. At its core were diplomatic goals involving music. Not only could music help Africans recover their pre-colonial heritage, it encouraged dialogue among cultures and cultural development fueling liberation from the colonial past. Listening for w…

  • Revisiting Debussy’s Relationships with Otherness: Difference, Vibrations, and the Occult

    Open AccessJann PaslerARTICLEMusic and Letters2020

    To commemorate the centenary of Debussy’s death, this article proposes a new perspective on the composer’s relationship to Otherness. While many have argued for the influence of japonisme and Javanese music on his oeuvre, here I look at experiences, influences, and ideas that shaped these and similar encounters, together with their implications. I argue that symbolism was not alone in motivating Debussy’s resistance to overt mimesis and ambivalen…

  • Les précurseurs africains des réformes musicales du concile Vatican II

    Jann PaslerARTICLEPrésence Africaine2019References: 2

  • The Idea of Art Music in a Commercial World, 1800-1930

    Open AccessJudith Solomon, David C H Wright et al.BOOKIdea of Art Music in a Commercial…2016

    Art and money, culture and commerce, have long been seen as uncomfortable bedfellows. Indeed, the connections between them have tended to resist full investigation, particularly in the musical sphere. The Idea of Art Music in a Commercial World, 1800-1930 , is a collection of essays that present fresh insights into the ways in which art music, i.e., classical music, functioned beyond its newly established aesthetic purpose (art for art's sake) an…

  • Business and Politics, with Humor: Saint-Saëns and Auguste Durand

    Open AccessJann PaslerCHAPTERCamille Saint-Saëns and His World2012

  • Saint-Saëns, “Algerian by Adoption”

    Open AccessJann PaslerCHAPTERCamille Saint-Saëns and His World2012

  • Saint-Saëns and d’Indy in Dialogue

    Open AccessJann PaslerCHAPTERCamille Saint-Saëns and His World2012

  • Re-Reading Saint-Saens

    Jann PaslerARTICLEMusic and Letters2011

    For many listeners around the world who continue to enjoy the composer’s works today, it might come as a surprise to read of a ‘Saint-Saëns problem’ (p. v). Yet, rather than addressing why his music still appeals after almost a century, and why more of it is performed than the music of most of his contemporaries, Roger Nichols begins the preface to his new edition of Saint-Saëns’s writings1 by citing a snide comment by a young turk of the new gen…

  • Le répertoire de l’Opéra de Paris (1671-2009): Analyse et interprétation

    Open AccessPhilippe Agid, Mario Armellini et al.BOOKLe répertoire de l’Opéra de Paris…2010

    L'Opéra de Paris, loin de l'uniformité qui règne aujourd'hui entre tous les opéras du monde, a longtemps fait cavalier seul : en jouant majoritairement des œuvres anciennes, en se refusant aux langues étrangères, en cultivant jalousement sa propre tradition. Les études réunies ici explorent les principales options qui structurent son répertoire pendant plus de trois siècles : l'ancien et le nouveau, l'équilibre entre opéra et ballet, l'inclusion …

  • Déconstruire d'Indy

    Jann PaslerARTICLERevue de musicologie2005

    In this article, I throw new light on Vincent d'Indy's reputation before 1900 by examining what his disciples have ignored, including little-known works, and by deconstructing attitudes accumulated over time. In fact, d'Indy was much less marginal and removed from republican institutions and their ideologies than we have been led to believe. His actions and works reveal a man who built alliances that served the State as well as the composer. Winn…

  • Haenel de Cronenthall, Louise

    Jann PaslerCHAPTERThe new Grove dictionary of music…2004

  • Resituating the spectral revolution: French antecedents and the dialectic of discontinuity and continuity in Debussy's Jeux

    Open AccessJann PaslerARTICLEMusicae Scientiae2004

  • The Utility of Musical Instruments in the Racial and Colonial Agendas of Late Nineteenth-Century France

    Open AccessJann PaslerARTICLEJournal of the Royal Musical…2004Cited by: 3References: 5

    Throughout the nineteenth century, musical instruments were seen as embodiments of a country's distinction, useful in 'the study of man, the diverse races, and their degree of civilization'. This article, focusing on the illustrated French press between 1870 and 1900, examines popular colonial representations of instruments in the context of the complex racial ideologies and the material as well as ideological struggles underlying imperialism. Im…

  • Le concert et son public: Mutations de la vie musicale en Europe de 1780 à 1914 (France, Allemagne, Angleterre)

    Open AccessIngeborg Allihn, Peter Borsay et al.BOOKLe concert et son public2002Cited by: 4

    Depuis son émergence au xviiie siècle, le concert est devenu un lieu central de l'activité musicale, aussi bien pour les musiciens que pour le public. Les transformations profondes que cette forme d'exécution et d'appropriation de la musique a connues pendant les deux derniers siècles et qui déterminent nos propres rapports à la musique, sont susceptibles d'éclairer une histoire des pratiques liées à la musique entre 1780 et le début du xxe siècl…

  • McClary, Susan

    Jann PaslerCHAPTERThe new Grove dictionary of music…2001

  • Paris

    Elisabeth Cook, GORDON A ANDERSON et al.CHAPTERThe new Grove dictionary of music…2001

  • Neo-romantic

    Jann PaslerCHAPTERThe new Grove dictionary of music…2001

  • Paris, Music after 1870

    Jann PaslerCHAPTERThe new Grove dictionary of music…2001