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100   $a20121115d2013      uy             0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 14$aThe musical legacy of wartime France$b[electronic resource] /$fLeslie A. Sprout
210   $aBerkeley $cUniversity of California Press$d2013
215   $a1 online resource (305 p.)
225 0 $aCalifornia studies in 20th-century music ;$v16
300   $aDescription based upon print version of record.
311   $a0-520-27530-6 
311   $a1-299-67740-1 
320   $aIncludes bibliographical references and index.
327   $tFrontmatter --$tContents --$tIllustrations --$tPreface and Acknowledgments --$t1. Poulenc's Wartime Secrets --$t2. Honegger's Postwar Rehabilitation --$t3. Ignoring Jolivet's Testimony, Embracing Messiaen's Memories --$t4. The Timeliness of Duruflé's Requiem --$t5. From the Postwar to the Cold War: Protesting Stravinsky in Postwar France --$tNotes --$tBibliography --$tIndex
330   $aFor the three forces competing for political authority in France during World War II, music became the site of a cultural battle that reflected the war itself. German occupying authorities promoted German music at the expense of French, while the Vichy administration pursued projects of national renewal through culture. Meanwhile, Resistance networks gradually formed to combat German propaganda while eyeing Vichy's efforts with suspicion. In The Musical Legacy of Wartime France, Leslie A. Sprout explores how each of these forces influenced the composition, performance, and reception of five well-known works: the secret Resistance songs of Francis Poulenc and those of Arthur Honegger; Olivier Messiaen's Quartet for the End of Time, composed in a German prisoner of war camp; Maurice Duruflé's Requiem, one of sixty-five pieces commissioned by Vichy between 1940 and 1944; and Igor Stravinsky's Danses concertantes, which was met at its 1945 Paris premiere with protests that prefigured the aesthetic debates of the early Cold War. Sprout examines not only how these pieces were created and disseminated during and just after the war, but also how and why we still associate these pieces with the stories we tell-in textbooks, program notes, liner notes, historical monographs, and biographies-about music, France, and World War II.
410  0$aCalifornia Studies in 20th-Century Music
606   $aMusic$zFrance$y20th century$xHistory and criticism
606   $aWorld War, 1939-1945$xMusic and the war
610   $aaesthetic debates.
610   $aarthur honegger.
610   $aballet.
610   $abeaux arts.
610   $aclassical music.
610   $acultural battle.
610   $aearly cold war.
610   $aengaging.
610   $aentertainment industry.
610   $aeurope.
610   $afrance.
610   $afrancis poulenc.
610   $afrench history.
610   $agerman music.
610   $agerman propaganda.
610   $ahistorical.
610   $ahistory.
610   $ainternational music.
610   $alively.
610   $amaurice durufle.
610   $amusic.
610   $amusical legacy.
610   $aolivier messiaen.
610   $aperforming arts.
610   $apolitical authority.
610   $aprisoner of war camp.
610   $aquartet for the end of time.
610   $arequiem.
610   $aresistance songs.
610   $aretrospective.
610   $arevolutionaries.
610   $asecret resistance.
610   $avichy france.
610   $avichy.
610   $aworld war 2.
615  0$aMusic$xHistory and criticism.
615  0$aWorld War, 1939-1945$xMusic and the war.
676   $a780.944/09044
700   $aSprout$b Leslie A$01570724
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910779756403321
996   $aThe musical legacy of wartime France$93844557
997   $aUNINA