Musik, Musiker und die Saint-Simonian
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eBay-Artikelnr.:374353402931
Artikelmerkmale
- Artikelzustand
- Gut
- Hinweise des Verkäufers
- Book Title
- Music, Musicians, and the Saint-Simonians
- ISBN
- 9780226489018
- Subject Area
- Music, History
- Publication Name
- Music, Musicians, and the Saint-Simonians
- Publisher
- University of Chicago Press
- Item Length
- 0 in
- Subject
- History & Criticism, General, Ethnic
- Publication Year
- 1986
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0 in
- Item Weight
- 35.9 Oz
- Item Width
- 0 in
- Number of Pages
- 418 Pages
Über dieses Produkt
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
0226489019
ISBN-13
9780226489018
eBay Product ID (ePID)
81544
Product Key Features
Number of Pages
418 Pages
Publication Name
Music, Musicians, and the Saint-Simonians
Language
English
Publication Year
1986
Subject
History & Criticism, General, Ethnic
Type
Textbook
Subject Area
Music, History
Format
Hardcover
Dimensions
Item Height
0 in
Item Weight
35.9 Oz
Item Length
0 in
Item Width
0 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
85-020915
Dewey Edition
19
Illustrated
Yes
Dewey Decimal
780/.07/0944
Table Of Content
List of Plates Acknowledgments Abbreviations and Symbols Part One: Introduction 1. Music for an Old Tale 2. Master and Posthumous Disciples Part Two: Theory 3. Art as a Means of Social Control Social Roles for Art Saint-Simon''s Views and Their Roots 4. The Development of Saint-Simon''s Views on Art, 1801-25 Three Phases Before the "Lettres" The "Lettres d''un habitant de Genève" The "Scientific" and "Industrialist" Years A Song for Industry Last Writings: Art and Religion 5. The Early Saint-Simonians on Music and Aesthetics, 1825-26 The "Dialogue" "Le Producteur" 6. The Role of the Artist in the Mature Saint-Simonian Social Scheme, 1828-31 Organic and Critical Ages Artist and Priest 7. Organic Art and Music, 1828-32 Art and History Music Past and Present Religious Music of the Future Views on Art and Music during a Year of Crisis (1831-32) Part Three: Practice 8. The rue Monsigny and Salle Taitbout: Music in the Formative Years The Movement Becomes a Religion: Hierarchy and Ritual Public Lectures, Internal Gatherings, and Semipublic Soirees Musician Visitors, Musician Members Tajan-Rogé and Félicien David "La question de la femme" and the Two Schisms 9. Six Musicians in Contract with the Saint-Simonians Halévy and the Saint-Simonians Nourrit and the Saint-Simonians Liszt and the Saint-Simonians Hiller and the Saint-Simonians Mendelssohn and the Saint-Simonians Berlioz and the Saint-Simonians A Force for Change 10. Music at the Ménilmontant Organization of Musical Life at Ménilmontant David''s First Pieces for Ménilmontant; the Taking of the Habit July: The Temple Ceremonies and Two Funerals Music during the Decline of the Retreat; Undatable Pieces The Dispersal of the Apostles 11. Vinçard and the Saint-Simonian Chanson The Musical Life of the Famille de Paris Chanson Tradition, Béranger, and the Work of the Saint-Simonian Chansonniers The Chansonniers, the "Marseillaise," and Later Generations Vinçard''s Songs Survival of the Works of David during the Dispersal Part Four: Echoes 12. The Musicians during the Dispersal and the Egyptian Mission David and His Works Travel South Rogé''s Subsequent Activity in France; Henri Reber 13. 1836-76: The Movement in Decline Debris of a Great Shipwreck Vinçard''s Activities after 1835 David''s Isolation and First Steps toward a Career "Le Désert" and David''s Tour of Germany "Moïse au Sinaï," "Christophe Colomb," and "L''Eden" David and Saint-Etienne; David''s Operas; Retirement Rogé in Saint Petersburg and Paris; Friendship with Berlioz 14. The Challenge of the Saint-Simonian Musical Effort Appendix A. Saint-Simon, Rouget de Lisle, and the "Premier Chant des industriels" Appendix B. Selected Lists of Saint-Simonian Chansons 1. Propagandistic Publications of Late 1832 and 1833 2. Other Collections 3. Single Chansons Referring to Special Occasions 4. Sets of Songs Sung at Particular "réunions" Appendix C. Five Songs by Vinçard 1. "Elan!" (1840) 17. "Le Brin d''herbe" (1863) 27. "Le Retour" (1835) 29. "Nous violà" (1836) 34. "La Ronde de Saint-Simon" (1861) Appendix D. Catalog of Saint-Simonian Works by Félicien David and Henri Reber Appendix E. Selected Saint-Simonian Works by Félicien David 1. "Hymne à Saint-Simon" 2. "Appel" 3. "Avant et après le repas" 5. "Le Retour du Père" or "Salut" 6. "Le Nouveau Temple" or "Chant de l''ouverture des travaux du Temple" 9. "Prière du soir" 10. "Prière du matin" 14. "Ronde" 14a. Alternative text for "Ronde," by Lagache 15. "La Danse des astres" 16. "Peuple fier! peuple fort!" or "Le Peuple" 16a. Songster pages with additional text for "Peuple fier" 29. "Belle, oh belle comme l''ange" from "Hymne à la Mère" Notes Note on Sources Bibliography Index
Synopsis
The Saint-Simonians, whose movement flourished in France between 1825 and 1835, are widely recognized for their contributions to history and social thought. Until now, however, no full account has been made of the central role of the arts in their program. In this skillful interdisciplinary study, Ralph P. Locke describes and documents the Saint-Simonians' view of music as an ideological tool and the influence of this view on musical figures of the day. The disciples of Claude Henri de Rouvroy, comte de Saint-Simon, believed that increased industrial production would play a crucial role in improving the condition of the working masses and in shifting power from the aristocratic "drones" to the enterprising men of talent then rising in the French middle class. As a powerful means of winning support for their views, music became an integral part of the Saint-Simonians' writings and ceremonial activities. Among the musicians Locke discusses are Berlioz, Liszt, and Mendelssohn, whose tangential association with the Saint-Simonians reveals new aspects of their social and aesthetic views. Other musicians became the Saint-Simonians' faithful followers, among them Jules Vinçard, Dominique Tajan-Rogé, and particularly Félicien David, the movement's principal composer. Many of these composers' works, reconstructed by Locke from authentic sources, are printed here, including the "Premier Chant des industriels," written at Saint-Simon's request by Rouget de Lisle, composer of the "Marseillaise.", The Saint-Simonians, whose movement flourished in France between 1825 and 1835, are widely recognized for their contributions to history and social thought. Until now, however, no full account has been made of the central role of the arts in their program. In this skillful interdisciplinary study, Ralph P. Locke describes and documents the Saint-Simonians' view of music as an ideological tool and the influence of this view on musical figures of the day. The disciples of Claude Henri de Rouvroy, comte de Saint-Simon, believed that increased industrial production would play a crucial role in improving the condition of the working masses and in shifting power from the aristocratic "drones" to the enterprising men of talent then rising in the French middle class. As a powerful means of winning support for their views, music became an integral part of the Saint-Simonians' writings and ceremonial activities. Among the musicians Locke discusses are Berlioz, Liszt, and Mendelssohn, whose tangential association with the Saint-Simonians reveals new aspects of their social and aesthetic views. Other musicians became the Saint-Simonians' faithful followers, among them Jules Vin ard, Dominique Tajan-Rog , and particularly F licien David, the movement's principal composer. Many of these composers' works, reconstructed by Locke from authentic sources, are printed here, including the "Premier Chant des industriels," written at Saint-Simon's request by Rouget de Lisle, composer of the "Marseillaise."
LC Classification Number
ML270.4.L65 1986
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