{"id":931,"date":"2020-05-12T08:51:08","date_gmt":"2020-05-12T13:51:08","guid":{"rendered":"https:\/\/pages.stolaf.edu\/performinghistory\/?p=931"},"modified":"2020-05-12T08:51:08","modified_gmt":"2020-05-12T13:51:08","slug":"nationality-and-1920s-france","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/performinghistory\/2020\/05\/12\/nationality-and-1920s-france\/","title":{"rendered":"Nationality and 1920&#8217;s France"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-938 alignright\" src=\"https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2020\/05\/Lully-300x300.jpeg\" alt=\"\" width=\"221\" height=\"221\" srcset=\"https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2020\/05\/Lully-300x300.jpeg 300w, https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2020\/05\/Lully-150x150.jpeg 150w, https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2020\/05\/Lully-480x480.jpeg 480w, https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2020\/05\/Lully.jpeg 570w\" sizes=\"auto, (max-width: 221px) 100vw, 221px\" \/>One topic that seemed to come through in all of the topic&#8217;s I researched was the issue of defining and securing French&#8217;s sound at the time. The topics I researched all differed greatly in their approach to it. Some worked to help define it, being the work of a member of Les Six and for the Ballet Russes being the remake of a play written in 1700&#8217;s height of the past french empire, and remaking the music of Lully, it screams Neoclassical, and reeks of a nostalgic return to France&#8217;s past to celebrate France&#8217;s present.<\/p>\n<p>While there was a push to celebrate the new by framing the past french masters, I noticed it was also important for the future of French new music that the public become engaged in works of the musical past. This deals with class, from the sense that it made tickets to &#8220;high art&#8221; more affordable for middle class citizens. In addition to giving more equal access to the arts to more of the classes, this was a way to educate the public so that they could better appreciate modern French music.<img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-939 alignleft\" src=\"https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2020\/05\/Theatre-des-Champs-Elysees.jpg\" alt=\"\" width=\"230\" height=\"173\" srcset=\"https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2020\/05\/Theatre-des-Champs-Elysees.jpg 230w, https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2020\/05\/Theatre-des-Champs-Elysees-150x113.jpg 150w\" sizes=\"auto, (max-width: 230px) 100vw, 230px\" \/><\/p>\n<p>Lastly, there were some who rejected the defining of French music, but still took advantage of the compositional techniques being championed at the time to help them create their own individual sound. I think that creating an individual sound was more important the overarching French philosophy rather than the work by Cocteau and some of Les Six. It is understandable why there is so much scholarship on the debates of French Identity. It was what composers needed to deal with directly at the time. It was on the minds of everyone. Although there is a lot of depth to be gained from the other lenses we analyzed, it seems like the concern for nationality was one that composers\/critics would have been most concerned with and it makes sense that it is baked into everything that I have researched.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>One topic that seemed to come through in all of the topic&#8217;s I researched was the issue of defining and securing French&#8217;s sound at the time. The topics I researched all differed greatly in their approach to it. Some worked to help define it, being the work of a member of Les Six and for [&hellip;]<\/p>\n","protected":false},"author":3603,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-931","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\/931","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\/3603"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/comments?post=931"}],"version-history":[{"count":1,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/931\/revisions"}],"predecessor-version":[{"id":941,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/931\/revisions\/941"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/media?parent=931"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/categories?post=931"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/tags?post=931"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}