Introduction: Consensus, Resistance and New Music in France
Remembering Debussy: Nostalgia and Modernism in interwar France
Musical allegiances and factions: Ravel, Satie and the Question of
Leadership
Polemics and Publicity: Composer-Critic Partnerships
Musical continuities: Sonority, Exoticism and Abstraction
In Search of the Musical esprit du temps
Surface Division, Deep Consensus: Classicism and Secularism and its
Challenges
Conclusions, Music for the Patrimoine: Remembering Interwar Music
in France
BARBARA L. KELLY is Professor of Music, University of Leeds
A significant contribution to the field ... Kelly adds to the
dynamic understanding of the period ... Due to the clear structure
of each chapter and the copious attention to details, this volume
will be of use to academics, students and the general interested
reader alike. It will no doubt become a standard reference in the
field.
*NOTES, March 2015*
Makes an important contribution to French music studies. Beyond
those with a particular interest in France, it will also be
essential reading for all scholars of music's Modernisms.
*H-FRANCE REVIEW*
Music and Ultra-Modernism in France: A Fragile Consensus, 1913-1939
presents a rich and nuanced exploration of musical Modernism within
interwar France that challenges received, and accepted,
understandings of this period. . . . Beyond those with a particular
interest in France, it will also be essential reading for all
scholars of music's Modernisms.
*H-FRANCE*
This book contains a great deal of valuable material.
*MUSICAL OPINION*
This book is a dazzling synthesis of materials, topics, and
approaches to music historiography. It sheds new light on a period
when alliances between critics and composers were paramount, when
the perception of musical aims and aesthetics were considered vital
to culture, and when the initiatives of musical historians actively
shaped the way people thought about music and themselves.
*FRENCH STUDIES*
Kelly's scholarship and engaging writing is of the highest order,
successfully helping us to address a previous deficiency in
20th-century French musicological studies. Highly recommended.
*CHOICE, March 2014*
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