Federico Lazzaro | Université de Fribourg (original) (raw)
Books by Federico Lazzaro
Through an interdisciplinary approach, this book explores the phenomenon of artistic migration in... more Through an interdisciplinary approach, this book explores the phenomenon of artistic migration in Paris during the Third Republic. This allows a comparison of case studies by researchers from different fields, and encourages reflection that goes beyond the disciplinary specializations of music, literature and the visual arts in order to produce a more general understanding of issues related to artistic migration in the French capital. This project offers insight into the formation of national imaginaries, the place occupied by foreigners in the artistic tradition of a territory, and the relationship among nationalism, internationalism, xenophobia and aesthetic judgment. Cultural historians, immigration historians and musicologists, as well as historians of art and literature, are the targeted readers.
Paris: Vrin ("MusicologieS"), 2018
The expression "École de Paris" (School of Paris) was born in the visual arts community of the 19... more The expression "École de Paris" (School of Paris) was born in the visual arts community of the 1920s to designate foreign artists living in the French capital. Then applied to music, it was used to indicate realities as different as a group of immigrant composers in Paris in the inter-war period (C. Beck, T. Harsányi, B. Martinů, M. Mihalovici, A. Tansman and A. Cherepnine) and all composers of all periods who have lived at least part of their lives in the City of Light.
An investigation through the press, correspondence, radio broadcasts, scores and scholarly works reconstructs the origins, history and challenges of this versatile label (hence the plural of the title). A new look at the cosmopolitan reality of interwar Paris music is thus offered to the reader: xenophobia, internationalism, the defence of the "genius of race" and fascination for exoticism coexist in discourse and in practice. This book sheds light on the issues surrounding the place occupied by the works of foreign composers in Paris within "French" music, thus offering a new perspective on the history of immigration in France.
A comparative study of the transcriptions and editions of Monteverdi's Orfeo within the 20th cent... more A comparative study of the transcriptions and editions of Monteverdi's Orfeo within the 20th century.
“School of Paris” (École de Paris) is a term often used to indicate a group of foreign composers ... more “School of Paris” (École de Paris) is a term often used to indicate a group of foreign composers who resided in Paris in the years between World War I and II. However, depending on the source, “School of Paris” can have various meanings. In a broader sense, it includes all composers in any era who lived at least part of their lives in Paris. In its strictest sense, it refers to the alleged group of four to six composers who arrived in Paris in the 1920s: Conrad Beck, Tibor Harsányi, Bohuslav Martinů, Marcel Mihalovici, Alexandre Tansman, and Alexander Tcherepnin.
In order to revisit the history of the use of this term, we have reconstructed the complex and contradictory discourse concerning the question: “what is the School of Paris?”. Our “investigation”, which took place through historical documents of the interwar years, as well as historiographical and popularized texts published up to today, led us to the conclusion that the School of Paris is a discursive phenomenon that each performer could manipulate at will, since no factual evidence justifies an unequivocal use of this term in the Parisian musical milieu of the 1920s and 1930s. Most notably, the study of musical programming allowed us to demonstrate that no particular event or gathering of the so-called “members” of the School of Paris ever took place between 1920 and 1940.
Subsequently, we have contextualized this discourse to understand which facts and which prominent rhetoric made it possible. The term used in music is an extension of that which was introduced in the milieu of visual arts in the 1920s, dictated by the dominant tendency in cosmopolitan Paris to make a clear distinction between the French and the non-French. In this light, we have thoroughly examined the different forms of musical nationalism and their role in creating a discourse on the School of Paris as a question of style — a position that asserts the existence of a “School of Paris style”, distinct from that of “French music”.
In addition to the reconstructions of third party and contextualized discourse, we have examined the discourses held by the composers in question. The study of several unpublished documents shows us that these composers were strongly opposed, during the interwar years, to attempts to treat them as a group. Not until after the Second World War do they couple this discourse with the favourable image of a homogeneous and coherent School of Paris, thus contributing to its historiographical fortune.
_Dance, spell and prayer. The “expressive renewal” of French music in the 1930s_ This is a study... more _Dance, spell and prayer. The “expressive renewal” of French music in the 1930s_
This is a study of rhetorics linked to the renewal of musical language in 1930s Paris. The verbal rhetoric: manifestos and composers’ writings; the musical rhetoric: the different strategies used by “non conformist” composers (in particular, Jolivet and Messaien) to renew their musical language without loosing its expressive power.
Papers by Federico Lazzaro
Debussy in Context (ed. Simon Trezise), 2024
From what can be inferred from the composer’s correspondence and writings, Debussy was indifferen... more From what can be inferred from the composer’s correspondence and writings, Debussy was indifferent to political debate. It is noteworthy that the names of politicians are virtually absent from his letters, and that none of the major affairs or terrorist episodes that shook French public opinion are the subject of his public or private writings. This chapter describes France’s volatile politics and the impact of the Prussian invasion, the Commune (1871), the Dreyfus affair, the First World War, and other events that shaped the country. Relations with Germany and the catastrophe of the First World War are discussed. Although Debussy was directly affected by some political events, for example his father’s involvement in the Commune, he comes across as fairly apathetic in his few political pronouncements.
Journal of Music Criticism, 2024
The analysis of a vast corpus of articles from the Parisian musical press of the interwar period... more The analysis of a vast corpus of articles from the Parisian musical press of the interwar period offers a complementary perspective to the established historiographical versions of the debate on (neo)classicism. Less connected than one might think to the discussion of Stravinsky’s music and to politics, the theme of a return to the past and of ‘objective’ music raised aesthetic reflections on the status of modern music. The debate offers a challenging case of tension between a ‘culturally informed historiography’ based on the press and our need to classify the musical works of the past.
Intersections, 2019
In 1911 a Gala in honour of French aviation was organized in Paris that featured a performance of... more In 1911 a Gala in honour of French aviation was organized in Paris that featured a performance of "Icare", an épopée lyrique [lyrical epic] composed by Henry Deutsch de la Meurthe. An oil magnate, important patron of both music and aeronautics as well as a composer, Deutsch de la Meurthe was a remarkable figure who built bridges between the diverse worlds of technological industry, sport, and French musical life. This article proposes an examination of his opera, Icare, by situating it within the historical and musical contexts of the development of French aviation and the composer’s musical output. The resulting portrait also allows for a re-evaluation of claims made by artists associated with the aesthetics of futurism that "L’aviatore Dro" (1915) by Francesco Balilla Pratella had been the first opera based on an aeronautic subject.
Intersections, Aug 2022
The collection of articles Machines and the Musical Imagination (1900–1950)/Machines et imaginair... more The collection of articles Machines and the Musical Imagination (1900–1950)/Machines et imaginaires musicaux (1900–1950) aims to expand understanding of the relationship between music and machines at the beginning of the twentieth century by focussing on three primary themes, namely: a) the specificity of this period in terms of the history of the representation of machines in music; b) the topoï around which the relationships between music and machines were articulated, and; c) the rich cultural relationship between machines, music, and society.
International Review of the Aesthetics and Sociology of Music, 2022
This article provides an in-depth analysis of André Jolivet’s claim for musical ‘renewal’. By pla... more This article provides an in-depth analysis of André Jolivet’s claim for musical ‘renewal’. By placing ‘renewal’, a key concept of Jolivet’s aesthetics, in the cultural and musical context of the composer’s thought in the 1930s, the author analyses its specific meaning in relation to similar
concepts (tradition, progress, evolution). Jolivet’s poetics is then related to his compositional practice in the Danse funéraire (1939). Through the study of interactions between the composer’s declared goals and his
actual achievements, the ‘aesthetically oriented analysis’ of Jolivet’s music offers new insight on the nature of particular compositional
choices, both enhancing and complementing previous studies that
seek to gauge relations between Jolivet’s explanation of his compositional
technique and his actual music.
Revue musicale OICRM, 2019
L’utilisation passe-partout du concept d’exotisme pour décrire la musique se référant directement... more L’utilisation passe-partout du concept d’exotisme pour décrire la musique se référant directement à un « autre » géographique est particulièrement problématique dans le cas de Maurice Ravel. Étant donné la présence prépondérante de l’« autre » dans sa musique (qu’il s’agisse d’un autre géographique, chronologique ou stylistique), il est indispensable de différencier cas par cas l’attitude et les choix compositionnels du compositeur. En suivant notamment les réflexions de Ralph P. Locke au sujet de l’exotisme musical et en s’interrogeant sur la perception des topoï musicaux, cet article propose une lecture des Chansons madécasses qui va au-delà de leur exotisme. Nous analysons les choix de Ravel par rapport aux textes et soulignons la portée moderniste et expressive (notamment érotique) davantage qu’« exotique » de ses choix musicaux.
Doctor Virtualis, 2011
Dal Traite de la musique selon l'esprit de Saint Augustin (1942) di H.-I. Marrou emerge la re... more Dal Traite de la musique selon l'esprit de Saint Augustin (1942) di H.-I. Marrou emerge la relazione tra la musica francese degli anni Trenta e il pensiero non-conformista . L’accento posto sul momento fruitivo della musica e in particolare sul suo fine etico si riallaccia ai propositi della rivoluzione spirituale che informa il cosiddetto spirito del 1930 e il manifesto della Jeune France: leggere il Traite puo essere utile per affrontare le poetiche musicali umaniste degli anni Trenta, e al contempo il contesto storico spiega e giustifica il pensiero di Marrou, che puo apparire altrimenti poco interessante. Quest'ultimo viene infatti sviluppato sulla scia del platonismo cristiano mediato da Agostino, che viene sottoposto a una serie di piccoli mutamenti in funzione di una migliore e piu attuale teologia morale . L'esito filosofico non e tuttavia dei piu convincenti, vuoi per i numerosi appelli al principio d'autorita, vuoi per le frequenti contraddizioni argomentat...
Revue musicale OICRM, 2020
En tant que production non musicale destinée à la lecture, le site Internet personnel d’un·e comp... more En tant que production non musicale destinée à la lecture, le site Internet personnel d’un·e compositeur·rice peut être considéré, dans son ensemble, comme un « écrit » de compositeur en plus de servir d’archive pour différentes formes d’écrits par ou sur l’artiste (textes de présentation d’oeuvres, interviews, etc.). Les analyses comparées d’un type de texte omniprésent sur les sites de compositeur·rices – la biographie – ainsi que de l’approche au genre du texte de présentation d’une oeuvre permettent de considérer les stratégies d’autoprésentation et de présentation de leur musique mises en oeuvre par les compositeur·rices. Ces analyses aboutissent au constat d’une tendance générale à la production de contenus plutôt destinés aux professionnels de la musique et à la sous-exploitation des possibilités offertes par le numérique pour la promotion et la médiation de la musique contemporaine.
Revue musicale OICRM, 2017
Aller au sommaire du numéro Éditeur(s) Observatoire interdisciplinaire de création et recherche e... more Aller au sommaire du numéro Éditeur(s) Observatoire interdisciplinaire de création et recherche en musique (OICRM) Découvrir la revue Citer cet article Lazzaro, F. (2017). Présentation des Notes de terrain. Revue musicale OICRM, 4(2), 162-162.
Revue musicale OICRM, 2018
Ce premier chapitre de la section Mots clés de la série « Anthologie du phem » s’intéresse à une ... more Ce premier chapitre de la section Mots clés de la série « Anthologie du phem » s’intéresse à une des questions cruciales du débat musicographique parisien dans l’entre-deux-guerres, à savoir les rapports entre musique et internationalisme (ou cosmopolitisme). Les trois articles sélectionnés expriment trois positions très différentes et articulées : l’universalisme francocentrique, la condamnation de l’internationalisme considéré comme illusoire et l’utopie cosmopolite. À une époque traversée par l’idéal d’une coopération internationale pacifique et par les nationalismes les plus exacerbés, les discours développés dans ces articles permettent de faire la lumière sur les enjeux politiques et esthétiques qui sous-tendent le débat musical.
Revue musicale OICRM, 2017
Le projet de recherche « Histoire de l’esthétique musicale en France, 1900-1950 » (phem) vise à r... more Le projet de recherche « Histoire de l’esthétique musicale en France, 1900-1950 » (phem) vise à reconstruire le débat esthético-musical de l’époque à travers un dépouillement systématique de la presse périodique et la constitution d’une banque de données. Cet article introduit une série de publications liées au projet tout en illustrant le cadre théorique et la méthodologie.
Revue musicale OICRM, 2017
En 1922, le quotidien culturel Comoedia lance le concours de musique, de poésie et d’architecture... more En 1922, le quotidien culturel Comoedia lance le concours de musique, de poésie et d’architecture « L’art et le sport », « pour glorifier l’athlète moderne ». La pièce musicale gagnante, Cortège d’athlètes de Louis Vuillemin, est une oeuvre ouvertement militaire et nationaliste. Cet article retrace les liens entre la gymnastique, le sport et la musique en France entre 1870 le début des années 1920 afin de comprendre les origines et les raisons de la militarisation de la musique à sujet sportif.
Through an interdisciplinary approach, this book explores the phenomenon of artistic migration in... more Through an interdisciplinary approach, this book explores the phenomenon of artistic migration in Paris during the Third Republic. This allows a comparison of case studies by researchers from different fields, and encourages reflection that goes beyond the disciplinary specializations of music, literature and the visual arts in order to produce a more general understanding of issues related to artistic migration in the French capital. This project offers insight into the formation of national imaginaries, the place occupied by foreigners in the artistic tradition of a territory, and the relationship among nationalism, internationalism, xenophobia and aesthetic judgment. Cultural historians, immigration historians and musicologists, as well as historians of art and literature, are the targeted readers.
Paris: Vrin ("MusicologieS"), 2018
The expression "École de Paris" (School of Paris) was born in the visual arts community of the 19... more The expression "École de Paris" (School of Paris) was born in the visual arts community of the 1920s to designate foreign artists living in the French capital. Then applied to music, it was used to indicate realities as different as a group of immigrant composers in Paris in the inter-war period (C. Beck, T. Harsányi, B. Martinů, M. Mihalovici, A. Tansman and A. Cherepnine) and all composers of all periods who have lived at least part of their lives in the City of Light.
An investigation through the press, correspondence, radio broadcasts, scores and scholarly works reconstructs the origins, history and challenges of this versatile label (hence the plural of the title). A new look at the cosmopolitan reality of interwar Paris music is thus offered to the reader: xenophobia, internationalism, the defence of the "genius of race" and fascination for exoticism coexist in discourse and in practice. This book sheds light on the issues surrounding the place occupied by the works of foreign composers in Paris within "French" music, thus offering a new perspective on the history of immigration in France.
A comparative study of the transcriptions and editions of Monteverdi's Orfeo within the 20th cent... more A comparative study of the transcriptions and editions of Monteverdi's Orfeo within the 20th century.
“School of Paris” (École de Paris) is a term often used to indicate a group of foreign composers ... more “School of Paris” (École de Paris) is a term often used to indicate a group of foreign composers who resided in Paris in the years between World War I and II. However, depending on the source, “School of Paris” can have various meanings. In a broader sense, it includes all composers in any era who lived at least part of their lives in Paris. In its strictest sense, it refers to the alleged group of four to six composers who arrived in Paris in the 1920s: Conrad Beck, Tibor Harsányi, Bohuslav Martinů, Marcel Mihalovici, Alexandre Tansman, and Alexander Tcherepnin.
In order to revisit the history of the use of this term, we have reconstructed the complex and contradictory discourse concerning the question: “what is the School of Paris?”. Our “investigation”, which took place through historical documents of the interwar years, as well as historiographical and popularized texts published up to today, led us to the conclusion that the School of Paris is a discursive phenomenon that each performer could manipulate at will, since no factual evidence justifies an unequivocal use of this term in the Parisian musical milieu of the 1920s and 1930s. Most notably, the study of musical programming allowed us to demonstrate that no particular event or gathering of the so-called “members” of the School of Paris ever took place between 1920 and 1940.
Subsequently, we have contextualized this discourse to understand which facts and which prominent rhetoric made it possible. The term used in music is an extension of that which was introduced in the milieu of visual arts in the 1920s, dictated by the dominant tendency in cosmopolitan Paris to make a clear distinction between the French and the non-French. In this light, we have thoroughly examined the different forms of musical nationalism and their role in creating a discourse on the School of Paris as a question of style — a position that asserts the existence of a “School of Paris style”, distinct from that of “French music”.
In addition to the reconstructions of third party and contextualized discourse, we have examined the discourses held by the composers in question. The study of several unpublished documents shows us that these composers were strongly opposed, during the interwar years, to attempts to treat them as a group. Not until after the Second World War do they couple this discourse with the favourable image of a homogeneous and coherent School of Paris, thus contributing to its historiographical fortune.
_Dance, spell and prayer. The “expressive renewal” of French music in the 1930s_ This is a study... more _Dance, spell and prayer. The “expressive renewal” of French music in the 1930s_
This is a study of rhetorics linked to the renewal of musical language in 1930s Paris. The verbal rhetoric: manifestos and composers’ writings; the musical rhetoric: the different strategies used by “non conformist” composers (in particular, Jolivet and Messaien) to renew their musical language without loosing its expressive power.
Debussy in Context (ed. Simon Trezise), 2024
From what can be inferred from the composer’s correspondence and writings, Debussy was indifferen... more From what can be inferred from the composer’s correspondence and writings, Debussy was indifferent to political debate. It is noteworthy that the names of politicians are virtually absent from his letters, and that none of the major affairs or terrorist episodes that shook French public opinion are the subject of his public or private writings. This chapter describes France’s volatile politics and the impact of the Prussian invasion, the Commune (1871), the Dreyfus affair, the First World War, and other events that shaped the country. Relations with Germany and the catastrophe of the First World War are discussed. Although Debussy was directly affected by some political events, for example his father’s involvement in the Commune, he comes across as fairly apathetic in his few political pronouncements.
Journal of Music Criticism, 2024
The analysis of a vast corpus of articles from the Parisian musical press of the interwar period... more The analysis of a vast corpus of articles from the Parisian musical press of the interwar period offers a complementary perspective to the established historiographical versions of the debate on (neo)classicism. Less connected than one might think to the discussion of Stravinsky’s music and to politics, the theme of a return to the past and of ‘objective’ music raised aesthetic reflections on the status of modern music. The debate offers a challenging case of tension between a ‘culturally informed historiography’ based on the press and our need to classify the musical works of the past.
Intersections, 2019
In 1911 a Gala in honour of French aviation was organized in Paris that featured a performance of... more In 1911 a Gala in honour of French aviation was organized in Paris that featured a performance of "Icare", an épopée lyrique [lyrical epic] composed by Henry Deutsch de la Meurthe. An oil magnate, important patron of both music and aeronautics as well as a composer, Deutsch de la Meurthe was a remarkable figure who built bridges between the diverse worlds of technological industry, sport, and French musical life. This article proposes an examination of his opera, Icare, by situating it within the historical and musical contexts of the development of French aviation and the composer’s musical output. The resulting portrait also allows for a re-evaluation of claims made by artists associated with the aesthetics of futurism that "L’aviatore Dro" (1915) by Francesco Balilla Pratella had been the first opera based on an aeronautic subject.
Intersections, Aug 2022
The collection of articles Machines and the Musical Imagination (1900–1950)/Machines et imaginair... more The collection of articles Machines and the Musical Imagination (1900–1950)/Machines et imaginaires musicaux (1900–1950) aims to expand understanding of the relationship between music and machines at the beginning of the twentieth century by focussing on three primary themes, namely: a) the specificity of this period in terms of the history of the representation of machines in music; b) the topoï around which the relationships between music and machines were articulated, and; c) the rich cultural relationship between machines, music, and society.
International Review of the Aesthetics and Sociology of Music, 2022
This article provides an in-depth analysis of André Jolivet’s claim for musical ‘renewal’. By pla... more This article provides an in-depth analysis of André Jolivet’s claim for musical ‘renewal’. By placing ‘renewal’, a key concept of Jolivet’s aesthetics, in the cultural and musical context of the composer’s thought in the 1930s, the author analyses its specific meaning in relation to similar
concepts (tradition, progress, evolution). Jolivet’s poetics is then related to his compositional practice in the Danse funéraire (1939). Through the study of interactions between the composer’s declared goals and his
actual achievements, the ‘aesthetically oriented analysis’ of Jolivet’s music offers new insight on the nature of particular compositional
choices, both enhancing and complementing previous studies that
seek to gauge relations between Jolivet’s explanation of his compositional
technique and his actual music.
Revue musicale OICRM, 2019
L’utilisation passe-partout du concept d’exotisme pour décrire la musique se référant directement... more L’utilisation passe-partout du concept d’exotisme pour décrire la musique se référant directement à un « autre » géographique est particulièrement problématique dans le cas de Maurice Ravel. Étant donné la présence prépondérante de l’« autre » dans sa musique (qu’il s’agisse d’un autre géographique, chronologique ou stylistique), il est indispensable de différencier cas par cas l’attitude et les choix compositionnels du compositeur. En suivant notamment les réflexions de Ralph P. Locke au sujet de l’exotisme musical et en s’interrogeant sur la perception des topoï musicaux, cet article propose une lecture des Chansons madécasses qui va au-delà de leur exotisme. Nous analysons les choix de Ravel par rapport aux textes et soulignons la portée moderniste et expressive (notamment érotique) davantage qu’« exotique » de ses choix musicaux.
Doctor Virtualis, 2011
Dal Traite de la musique selon l'esprit de Saint Augustin (1942) di H.-I. Marrou emerge la re... more Dal Traite de la musique selon l'esprit de Saint Augustin (1942) di H.-I. Marrou emerge la relazione tra la musica francese degli anni Trenta e il pensiero non-conformista . L’accento posto sul momento fruitivo della musica e in particolare sul suo fine etico si riallaccia ai propositi della rivoluzione spirituale che informa il cosiddetto spirito del 1930 e il manifesto della Jeune France: leggere il Traite puo essere utile per affrontare le poetiche musicali umaniste degli anni Trenta, e al contempo il contesto storico spiega e giustifica il pensiero di Marrou, che puo apparire altrimenti poco interessante. Quest'ultimo viene infatti sviluppato sulla scia del platonismo cristiano mediato da Agostino, che viene sottoposto a una serie di piccoli mutamenti in funzione di una migliore e piu attuale teologia morale . L'esito filosofico non e tuttavia dei piu convincenti, vuoi per i numerosi appelli al principio d'autorita, vuoi per le frequenti contraddizioni argomentat...
Revue musicale OICRM, 2020
En tant que production non musicale destinée à la lecture, le site Internet personnel d’un·e comp... more En tant que production non musicale destinée à la lecture, le site Internet personnel d’un·e compositeur·rice peut être considéré, dans son ensemble, comme un « écrit » de compositeur en plus de servir d’archive pour différentes formes d’écrits par ou sur l’artiste (textes de présentation d’oeuvres, interviews, etc.). Les analyses comparées d’un type de texte omniprésent sur les sites de compositeur·rices – la biographie – ainsi que de l’approche au genre du texte de présentation d’une oeuvre permettent de considérer les stratégies d’autoprésentation et de présentation de leur musique mises en oeuvre par les compositeur·rices. Ces analyses aboutissent au constat d’une tendance générale à la production de contenus plutôt destinés aux professionnels de la musique et à la sous-exploitation des possibilités offertes par le numérique pour la promotion et la médiation de la musique contemporaine.
Revue musicale OICRM, 2017
Aller au sommaire du numéro Éditeur(s) Observatoire interdisciplinaire de création et recherche e... more Aller au sommaire du numéro Éditeur(s) Observatoire interdisciplinaire de création et recherche en musique (OICRM) Découvrir la revue Citer cet article Lazzaro, F. (2017). Présentation des Notes de terrain. Revue musicale OICRM, 4(2), 162-162.
Revue musicale OICRM, 2018
Ce premier chapitre de la section Mots clés de la série « Anthologie du phem » s’intéresse à une ... more Ce premier chapitre de la section Mots clés de la série « Anthologie du phem » s’intéresse à une des questions cruciales du débat musicographique parisien dans l’entre-deux-guerres, à savoir les rapports entre musique et internationalisme (ou cosmopolitisme). Les trois articles sélectionnés expriment trois positions très différentes et articulées : l’universalisme francocentrique, la condamnation de l’internationalisme considéré comme illusoire et l’utopie cosmopolite. À une époque traversée par l’idéal d’une coopération internationale pacifique et par les nationalismes les plus exacerbés, les discours développés dans ces articles permettent de faire la lumière sur les enjeux politiques et esthétiques qui sous-tendent le débat musical.
Revue musicale OICRM, 2017
Le projet de recherche « Histoire de l’esthétique musicale en France, 1900-1950 » (phem) vise à r... more Le projet de recherche « Histoire de l’esthétique musicale en France, 1900-1950 » (phem) vise à reconstruire le débat esthético-musical de l’époque à travers un dépouillement systématique de la presse périodique et la constitution d’une banque de données. Cet article introduit une série de publications liées au projet tout en illustrant le cadre théorique et la méthodologie.
Revue musicale OICRM, 2017
En 1922, le quotidien culturel Comoedia lance le concours de musique, de poésie et d’architecture... more En 1922, le quotidien culturel Comoedia lance le concours de musique, de poésie et d’architecture « L’art et le sport », « pour glorifier l’athlète moderne ». La pièce musicale gagnante, Cortège d’athlètes de Louis Vuillemin, est une oeuvre ouvertement militaire et nationaliste. Cet article retrace les liens entre la gymnastique, le sport et la musique en France entre 1870 le début des années 1920 afin de comprendre les origines et les raisons de la militarisation de la musique à sujet sportif.
Revue musicale OICRM, 2014
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
Revue musicale OICRM, 2018
Les 126 « Variations… sans thème » publiées par Yves Margat dans Le Guide du concert entre 1934 e... more Les 126 « Variations… sans thème » publiées par Yves Margat dans Le Guide du concert entre 1934 et 1939 sont une source précieuse pour l’étude du discours sur la musique en France dans cette période de crise économique, culturelle et politique. Les billets humoristiques de Margat ironisent à la fois sur la place de la musique dans la société parisienne et sur la crise du langage et de l’écoute musicaux. Margat construit sa crédibilité de faiseur d’opinion par son professorat (ses cours d’harmonie sont amplement publicisés par la revue qui publie sa rubrique hebdomadaire) et, réciproquement, promeut son enseignement comme solution aux maux qu’il dénonce, ce qui donne à ses billets un statut digne d’être problématisé.
Les Cahiers de la Société québécoise de recherche en musique, 2019
[EN] "800 mètres" is a “sports drama” born out of the stadium for the stadium, staged at Roland-G... more [EN] "800 mètres" is a “sports drama” born out of the stadium for the stadium, staged at Roland-Garros in 1941 together with Aeschylus’s "The Suppliants". The music for both plays, now lost, was by Arthur Honegger. Inspired by Greek tragedies in both its formal and dramaturgical conception, "800 mètres" is the translation into words, gestures and sounds of the thoughts that André Obey expressed at the time of the Olympic Games in Paris in 1924. Obey has been one of the main actors in the reflection on the relationship between music and sport. In promoting sports among French intellectuals, Obey advocates the birth of an Olympic art and elaborates a rich metaphorical portrait of sport as music. Based on textual, iconographic and sound archival documents,
this article reconstitutes the genesis of "800 mètres", shows how this
drama stages Obey’s philhellenic ideas, and analyzes the complex
musical-dramatic conception of the work.
[FR] "800 mètres" est un « drame sportif » né du stade pour le stade, représenté au Roland-Garros en 1941 en tandem avec "Les Suppliantes" d’Eschyle, avec des musiques d’Arthur Honegger, toutes deux perdues. Inspiré des tragédies grecques par sa conception formelle ainsi que dramaturgique, "800 mètres" est la traduction en mots, gestes et sons des idées formulées par André Obey autour des Jeux olympiques de Paris en 1924. L’un des principaux acteurs de la réflexion sur les rapports
entre la musique et le sport et de la promotion du sport auprès des intellectuels français, Obey préconise la naissance d’un art olympique et élabore un riche portrait métaphorique du sport comme musique. Cet article reconstruit la genèse de "800 mètres", montre comment ce drame met en scène les idées philhelléniques d’Obey, et analyse la conception musico-dramatique complexe de l’oeuvre en se basant sur de documents d’archives textuels, iconographiques et sonores.
Revue musicale OICRM, 2020
As a non-musical production intended for reading, a composer’s personal website can be considered... more As a non-musical production intended for reading, a composer’s personal website can be considered, as a whole, as a composer’s “writing” in addition to serving as an archive for different forms of writing by or about the artist (presentation texts about works, interviews, etc.). Comparative analyses of a certain type of text that is omnipresent on composers’ sites—the biography—as well as the approach to a presentation text about a work provide an insight into the composers’ self-presentation strategies and the way they present their music. These analyses lead to the observation of a general tendency towards the production of contents for music professionals and the under-exploitation of the possibilities offered by digital technology for the promotion and mediation of contemporary music.
Orphée aujourd'hui. Lire, interpréter..., 2019
Revue musicale OICRM, Nov 2018
The 126 « Variations… sans thème » (Variations… without theme) which Yves Margat wrote for Le Gui... more The 126 « Variations… sans thème » (Variations… without theme) which Yves Margat wrote for Le Guide du concert between 1934 and 1939 provide a particularly interesting insight into the discourse about music in France during the economical, cultural and political crisis of that period. Margat’s humorous column is ironical about the place of music within the Parisian society as well as about the crisis of musical language and listening. Margat builds his reliability as an opinion-maker by his activity as a teacher (his harmony courses are widely publicized in the journal publishing his column) and, conversely, he promotes his courses as the solution to the ills he speaks out against. This calls into question the status of Margat’s columns.
Study Day, University of Ottawa (5 October 2018)
My keynote address at this conference on Monteverdi's Orfeo considers this opera an "open artwork... more My keynote address at this conference on Monteverdi's Orfeo considers this opera an "open artwork" that several 20th-century composers and performers decided to modify and often fully rewrite.
27-29 April 2017 http://maiparis2017.emf.oicrm.org McGill University (Montréal) and Montréal Muse... more 27-29 April 2017
http://maiparis2017.emf.oicrm.org
McGill University (Montréal) and Montréal Museum of Fine Arts
This conference seeks to explore the phenomenon of artistic migration to Paris during the Third Republic from an interdisciplinary perspective (music, literature, and the visual arts), thus offering researchers from different fields the opportunity to compare their case studies and to formulate ideas that transcend their field of specialization, with the goal of producing a comprehensive understanding of the issues related to artistic migration to Paris.
The conference will feature a concert of chamber music by composers who migrated to Paris in the first decades of the twentieth century.
The international conference will be preceded by a study day on surrealism on April 26: “‘Silence is Golden’: Surrealism at 100 and the Place of Music in Its History”.
Conference organizers: Steven Huebner, Federico Lazzaro
Study day organizers: Jeremy Cox, Lloyd Whitesell
Keynote speakers: Pascal Ory, Ihor Junyk (conference), Sébastien Arfouilloux (study day)
Existe-t-il un rapport entre le sport et la musique? Le sport pourrait-il inspirer des compositio... more Existe-t-il un rapport entre le sport et la musique? Le sport pourrait-il inspirer des compositions musicales? Dans quels cas pourrait-on parler de « musique sportive »? Dans les années 1920, lorsque la présence du sport dans la société française prend une dimension jamais atteinte auparavant, ces questions ont suscité un riche débat dans les revues musicales françaises. L’étude d’une question à l’apparence futile comme celle des rapports entre la musique et le sport se révèle pourtant incontournable pour une histoire de l’esthétique musicale en France : premièrement, elle touche à la question de la considération du rôle du corps dans la perception et dans la création musicales; deuxièmement, elle permet de contextualiser la parution presque sans antécédents d’un certain nombre de pièces musicales ouvertement « sportives » ¬– comme Rugby (1928) d’Artur Honegger, Half-Time (1924) de Bohuslav Martinů, Pour un entraînement de boxe (1922) et Sonatine sportive (1939) d’Alexandre Tchérepnine – dans un milieu culturel qui voyait dans le sport une des facettes de la modernité, avec le machinisme et le jazz.
University of Ottawa, 5 October 2018 Drawing on historical, aesthetic, theoretical and sociocult... more University of Ottawa, 5 October 2018
Drawing on historical, aesthetic, theoretical and sociocultural perspectives, this study day seeks to reconsider the place of machines in the musical imagination during the first half of the twentieth century, a period marked by the proliferation of mass technology.
a project of the DICTECO research program
The organizers of this conference (Lyon, 22-23 November 2018) would like to explore the complex b... more The organizers of this conference (Lyon, 22-23 November 2018) would like to explore the complex but fascinating relationship between composers’ writings and media spaces over a wide period extending from the nineteenth to the twenty-first century.
Submission deadline: 15 December 2017.
Il nuovo call 2017 della rivista «Gli spazi della musica»: "Ricercari" a tema libero; "Variazi... more Il nuovo call 2017 della rivista «Gli spazi della musica»:
"Ricercari" a tema libero;
"Variazioni" sul tema «Musica, tra giovinezza e senilità».
The new call for papers 2016 of the journal «Gli spazi della musica»:
"Ricercari", free papers;
"Variazioni" on the theme «Music between youth and senility».
Librairie philosophique J. Vrin, 2019
Bulletin MusCan Newsletter, 2018