{"id":852,"date":"2020-05-11T11:11:26","date_gmt":"2020-05-11T16:11:26","guid":{"rendered":"https:\/\/pages.stolaf.edu\/performinghistory\/?p=852"},"modified":"2020-05-11T11:11:26","modified_gmt":"2020-05-11T16:11:26","slug":"music-in-paris-in-the-1920s-a-summation","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/performinghistory\/2020\/05\/11\/music-in-paris-in-the-1920s-a-summation\/","title":{"rendered":"Music in Paris in the 1920s: A Summation"},"content":{"rendered":"

Whenever one examines a past era, it is easy to put that era in a box and define it only on one or two things. Going into the course, I had some stereotypes about 1920s Paris, but this course really helped me understand the complexity within that interwar period<\/p>\n

This first began to register with me during my research for my first paper. I chose Josephine Baker as my subject, and my research heavily focused on understanding La revue N\u00e8gre <\/em>and Parisian negrophilia<\/em>.<\/p>\n

\"\"
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Josephine Baker<\/figcaption><\/figure>\n

Additionally, I found class to be an interesting lens to study. My second and third paper included discussions of class, though my third more prominently. Class was of vital importance to the music of the time. From the \u201cart of the everyday\u201d movement to the systems of patronage, class is vital to understanding the relationships between the patrons, composers, and audiences. I really enjoyed examining the conflict between two of the major figures in Patronage: Beaumont and Diaghilev. In researching Le Train bleu, <\/em>I uncovered a lot of information on how class played into compositions beyond the stated intentions of \u201cart of the everyday.\u201d<\/p>\n

\"\"
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Darius Milhaud<\/figcaption><\/figure>\n

The course readings, blogs, and papers gave me the opportunity to really dive into the complexity of the era. I appreciate how the course didn\u2019t try to oversimplify. I felt that the readings presented nuanced and well-researched ideas on the various subjects, and it helped me gain a broad understanding of the time period. It also revealed to me the importance of studying the past to understand the present.<\/p>\n

The lenses we looked at Paris in the 1920s through can be applied to virtually any other area. While of course there will be other lenses that help better understand then just the ones in the class, the point is one must examine critically any time period. It is easy to idealize or demonize a time, but often if one looks just a little deeper one will find some parallels to virtually any other time, including the present.<\/p>\n

As I mentioned earlier in my discussion of negrophilia, we can find problematic representations of race in most any period. It is not unique to France or merely of a time past, but something that is persisting right now. The same goes with class. The contemporary music\u2014of all genres, including contemporary classical music\u2014is constantly developing and modifying, but one way to understand how it changes is through examining the development of class systems.<\/p>\n

Continuing on from this class, I am better equipped to critically examine music and musical eras in order to allow for more nuanced and authenticity in my own performances as well as extrapolate information to make the present better. I also feel much more solid in my research ability. I feel confident that going forward I have the skills to adequately examine historical evidence to craft a comprehensive understanding of a topic or time. It\u2019s been a fun class, in fact it\u2019s one of my favorites I\u2019ve taken in college, and I am excited to begin my research IR next fall.<\/p>\n","protected":false},"excerpt":{"rendered":"

Whenever one examines a past era, it is easy to put that era in a box and define it only on one or two things. Going into the course, I had some stereotypes about 1920s Paris, but this course really helped me understand the complexity within that interwar period This first began to register with […]<\/p>\n","protected":false},"author":3114,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-852","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\/852","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\/3114"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/comments?post=852"}],"version-history":[{"count":1,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/852\/revisions"}],"predecessor-version":[{"id":854,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/852\/revisions\/854"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/media?parent=852"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/categories?post=852"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/tags?post=852"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}