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Erik Satie's (1866-1925) music appeals to wide audiences and has influenced both experimental artists and pop musicians. Little about Satie was conventional, and he resists classification under easy headings such as 'classical music'. Instead of pursuing the path of a professional composer, Satie initially earned a living as a caf pianist and moved in bohemian circles which prized satire, popularculture and experiment. Small wonder that his music is fundamentally new in conception. It is music which is not always designed to be listened to attentively: music which can be machine-like but isto be played by humans. For Satie, music was part of a wider concept of artistic creation, as evidenced by his collaborations with leading avant-garde artists and in works which cross traditional genre boundaries such as his texted piano pieces. His music was created in some of the most exciting and creatively stimulating environments of the late nineteenth and early twentieth century: Montmartreand Montparnasse. Paris was the artistic centre of Europe, and Satie was a notorious figure whose music and ideas are inextricably linked with the City of Light. This book situates Satie's work withinthe context and sonic environment of contemporary Paris. It shows that the influence of street music, musicians and poets interested in new technology, contemporary innovations and radical politics are all crucial to an understanding of Satie. Music from the ever-popular Gymnopédies to newly discovered works are discussed, and an online supplement features rare pieces recorded especially for the book. CAROLINE POTTER is Reader in Music at Kingston University London. A graduate in both French and Music, she has published widely on French music since Debussy and was Series Advisor to the Philharmonia Orchestra's Paris 2014-15 season.

Composers --- Music --- Compositeurs --- Musique --- History and criticism --- Histoire et critique --- Satie, Erik, --- Satie, Erik Alfred Leslie, --- Satie, Éric, --- Satie, Alfred Erik Leslie, --- Sati, Ėrik, --- Sati, Ė. --- Erik Satie. --- French composers. --- French music. --- World War I. --- classical music. --- genre. --- music studies. --- musicology. --- nineteenth century French music. --- performance studies. --- piano.

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Exploring the emotional and cultural influences on Pierre Boulez's early works as well as the role surrealism and French culture of the 1930s and 1940s played in shaping his radical new musical concepts.

MUSIC / Genres & Styles / Classical. --- André Breton. --- Antonin Artaud. --- French music. --- Paris. --- René Char. --- Serge Nigg. --- Surrealism. --- Yvette Grimaud. --- Yvonne Loriod. --- ethnography. --- ethnomusicology. --- serialism. --- Music --- History and criticism. --- Boulez, Pierre, --- Criticism and interpretation.

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The relationship between song quotation and the elevation of French as a literary language that could challenge the cultural authority of Latin is the focus of this book. It approaches this phenomenon through a close examination of the refrain, a short phrase of music and text quoted intertextually across thirteenth- and early fourteenth-century musical and poetic genres. The author draws on a wide range of case studies, from motets, trouvère song, plays, romance, vernacular translations, and proverb collections, to show that medieval composers quoted refrains as vernacular auctoritates; she argues that their appropriation of scholastic, Latinate writing techniques worked to authorize Old French music and poetry as media suitable for the transmission of knowledge. Beginning with an exploration of the quasi-scholastic usage of refrains in anonymous and less familiar clerical contexts, the book goes on to articulate a new framework for understanding the emergence of the first two named authors of vernacular polyphonic music, the cleric-trouvères Adam de la Halle and Guillaume de Machaut. It shows how, by blending their craft with the writing practices of the universities, composers could use refrain quotation to assert their status as authors with a new self-consciousness, and to position works in the vernacular as worthy of study and interpretation. Jennifer Saltzstein is Assistant Professor of Musicology at the University of Oklahoma.

French language. --- Langue d'oïl --- Romance languages --- Refrain. --- Music --- French poetry --- French language --- History and criticism. --- Middle French language --- Old French language --- Franco-Venetian language --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Poetry --- Old French --- Auctoritates. --- Authors. --- Literature. --- Medieval French Music. --- Old French. --- Poetry. --- Scholastic Writing. --- Vernacular.

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Music and Ultra-Modernism in France examines the priorities of three generational groupings: the pre-war Société Musicale Indépendente of Ravel and his circle, Les Six in the 1920s and Jeune France in 1936. Exploring the ideas of consensus, resistance and rupture, the book contributes an important and nuanced reflection to the current debate on modernism in music. It considers the roles composers, critics and biographers played in shaping debates about contemporary music, showing how composers including Ravel, Poulenc, Milhaud, Jolivet and Messiaen and critics such as Paul Landormy, André Coeuroy and Roland-Manuel often worked in partnership to bring their ideas to a public forum. It also expands the notion of 'interwar' through the essential inclusion of World War I and the years before, reconfiguring the narrative for that period. This book challenges some of the stereotypes that characterise the period, in particular, neo-classicism and the dominance of secularism. It shows how Stravinsky worked closely with Ravel, Satie and Poulenc and invited audiences and critics to rethink what it meant to be modern. The interwar years were also marked by commemoration and loss. Debussy's wartime death in 1918 stimulated competing efforts (by Emile Vuillermoz, Léon Vallas and Henry Prunières) to shape his legacy. They were motivated by nostalgia for a lost and glorious generation and a commitment to building a legacy of French achievement. Music and Ultra-Modernism in France argues for the vitality of French music in the period 1913-39 and challenges the received view that the period and its musical culture lacked dynamism, innovation or serious musical debate. BARBARA L. KELLY is Professor of Music at Keele University.

Music --- History and criticism. --- Modernism (Music) --- History --- Philosophy and aesthetics. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Modernism in music --- Modernist music --- Musical modernism --- Style, Musical --- Composers. --- Critics. --- French Music. --- Interwar. --- Jeune France. --- Les Six. --- Neo-Classicism. --- Secularism. --- Société Musicale Indépendente. --- Ultra-Modernism. --- World War I.

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As a noted composer and critic, and later an editor and composition teacher, Paul Dukas (1865-1935) was a major figure in fin-de-siècle and early twentieth-century French music. Although his catalogue of published scores was relatively modest in quantity, he was internationally recognised as an artist and intellectual of distinction who contributed significantly to Parisian musical cultures and critical debates as they evolved from the 1890s until the 1930s. Moving in the same circles as Debussy and Fauré, as well as networking with trailblazers such as the Ballets Russes director Sergei Diaghilev and the conductor Serge Koussevitzky, Dukas created works that reflect French sensibilities but also resonate with transnational audiences. L'Apprenti sorcier is still his best-known work, while the opera Ariane et Barbe-Bleue has been revived and remains relevant for the twenty-first century. Works such as the Piano Sonata and the ballet La Péri respectively exemplify the twin attractions of tradition and progress for the composer. Intensely self-critical, however, he ended up destroying many of his scores. This book is the first full-length Anglophone study of Dukas. It perceives his critical essays as a form of creative, philosophical thought that synthesised the riches of the Parisian music scene yet also represented the formation and development of his own artistic voice. Investigating Dukas's interrelated identities as composer and critic, it seeks to explain his broad aesthetic motivations and artistic agenda.

Musical criticism --- Composition (Music) --- Composers --- Music critics --- History. --- Dukas, Paul, --- Dukas, Paul, ǂd 1865-1935 --- Criticism and interpretation. --- Critics --- Musicians --- Music journalists --- Composing (Music) --- Music --- Music composing --- Music composition --- Musical composition --- Concertante style --- Hermeneutics (Music) --- Music criticism --- Journalism --- Composition --- History and criticism --- Di︠u︡ka, Polʹ, --- Dukas, Paul Abraham, --- French music. --- L'Apprenti sorcier. --- Parisian musical culture. --- Paul Dukas. --- artistic agenda. --- composer. --- critic. --- early twentieth century. --- fin-de-siècle. --- intellectual. --- MUSIC / Genres & Styles / Classical.