{"id":1131,"date":"2022-03-03T07:45:23","date_gmt":"2022-03-03T13:45:23","guid":{"rendered":"https:\/\/pages.stolaf.edu\/performinghistory\/?p=1131"},"modified":"2022-03-03T07:45:23","modified_gmt":"2022-03-03T13:45:23","slug":"milhaud-discussion-changes-perception","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/performinghistory\/2022\/03\/03\/milhaud-discussion-changes-perception\/","title":{"rendered":"Milhaud &#8211; Discussion Changes Perception"},"content":{"rendered":"<figure id=\"attachment_1132\" aria-describedby=\"caption-attachment-1132\" style=\"width: 246px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1132\" src=\"https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/03\/download.jpg\" alt=\"\" width=\"246\" height=\"340\" srcset=\"https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/03\/download.jpg 191w, https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/03\/download-109x150.jpg 109w\" sizes=\"auto, (max-width: 246px) 100vw, 246px\" \/><figcaption id=\"caption-attachment-1132\" class=\"wp-caption-text\">(Darius Milhaud sitting on a couch. Picture from Milken Archive of Jewish Music)<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">One source that has been especially useful to me is the magazine article \u201c<\/span><a href=\"https:\/\/drive.google.com\/file\/d\/0BxQzWOgr8AurVG9mRDVQekx5eW8\/view?resourcekey=0-SAcLR5ngst1Jv5R8J8JNGQ\"><span style=\"font-weight: 400;\">The Evolution of Modern Music in Paris and in Vienna<\/span><\/a><span style=\"font-weight: 400;\">\u201d that Milhaud himself wrote. Naturally, because this is a primary source of the figure I chose, there is a directness available to me that would not otherwise be there. I know that what is written on the page is the opinion of Milhaud. His compositions of course contribute to his impact on French music, but just as importantly, so does his discourse. Whether we like it or not, discussion has the ability to directly impact how people think and write about the same &#8211; or similar &#8211; subjects. This applies to modern day, as well as the past. By advocating for composers such as Debussy and Satie, Milhaud is knowingly bringing their names and their styles forward in hopes of convincing others of his opinion. Describing French music &#8211; specifically that of Satie &#8211; as, \u201c&#8230; renewed because of its plainness and purity, the spirit of French music, free from all foreign weight\u201d (Milhaud 448) is showing us what Milhaud deems this to be valuable knowledge. This is how he makes his case, and this is how Milhaud contributed to French music through discourse.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">With this knowledge, let\u2019s listen to an example of what Milhaud argues is quality French music. In Satie\u2019s \u201c<\/span><a href=\"https:\/\/www.youtube.com\/watch?v=BpPVqsXEIWg\"><span style=\"font-weight: 400;\">Socrate<\/span><\/a><span style=\"font-weight: 400;\">\u201d the characteristics that Milhaud deems uniquely French are prominent.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Socrate \/ Erik Satie\" width=\"580\" height=\"435\" src=\"https:\/\/www.youtube.com\/embed\/BpPVqsXEIWg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400;\">The tenor melodic line is very much highlighted, and there are few musical embellishments from the orchestra. This so-called plainness, as we&#8217;ve established above, is one quality that Milhaud contributed to the discussion of French music. It\u2019s no wonder he described it as, \u201c&#8230; having a sureness and authority which only perfect works possess\u201d (Milhaud 449). Of course, the opinion of Milhaud is not absolute. There are many interpretations of music from the time, each one as valid as the next. But just taking a close look at Milhaud, we can see that this \u201csobriety\u201d and \u201cplainness\u201d is crucial to his idea of what French music should be.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Milhaud, Darius. \u201cThe Evolution of Modern Music in Paris and in<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0 \u00a0 \u00a0 \u00a0 \u00a0Vienna.\u201d <\/span><i><span style=\"font-weight: 400;\">The North <\/span><\/i><i><span style=\"font-weight: 400;\">American Review<\/span><\/i><span style=\"font-weight: 400;\">, Apr. 1923, pp. 544\u2013553. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>One source that has been especially useful to me is the magazine article \u201cThe Evolution of Modern Music in Paris and in Vienna\u201d that Milhaud himself wrote. Naturally, because this is a primary source of the figure I chose, there is a directness available to me that would not otherwise be there. I know that [&hellip;]<\/p>\n","protected":false},"author":4388,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1131","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1131","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/users\/4388"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/comments?post=1131"}],"version-history":[{"count":1,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1131\/revisions"}],"predecessor-version":[{"id":1135,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1131\/revisions\/1135"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/media?parent=1131"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/categories?post=1131"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/tags?post=1131"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}