東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Grieving Through Music in Interwar F...

Rogers, Jillian Corinne.

Linked to FindBook

Google Book

Amazon

博客來

Grieving Through Music in Interwar France: Maurice Ravel and His Circle, 1914-1934.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Grieving Through Music in Interwar France: Maurice Ravel and His Circle, 1914-1934./
Author:	Rogers, Jillian Corinne.
Description:	338 p.
Notes:	Source: Dissertation Abstracts International, Volume: 75-09(E), Section: A.
Contained By:	Dissertation Abstracts International75-09A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3622666
ISBN:	9781303945380

Grieving Through Music in Interwar France: Maurice Ravel and His Circle, 1914-1934.
Rogers, Jillian Corinne.

Grieving Through Music in Interwar France: Maurice Ravel and His Circle, 1914-1934. - 338 p.

Source: Dissertation Abstracts International, Volume: 75-09(E), Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2014.

This item must not be sold to any third party vendors.

Between 1914 and 1918, the French modernist composer Maurice Ravel was deeply affected by his experiences as a soldier in World War I, the deaths of many friends in combat, and the passing of loved ones on the home front. The aim of this dissertation is to determine how the music that Ravel wrote and performed after 1914 engaged with contemporary French cultures of mourning. Archival research in Paris and the United States has allowed me to examine funeral accounts and obituaries in late nineteenth- and early twentieth-century periodicals, as well as the correspondence, diaries, scrapbooks, and collected materials of Ravel and his grieving friends, in order to ascertain how grief and its display were socially constructed and understood in interwar France within Ravel's social circle. Obituaries and funeral accounts published in Parisian periodicals between 1875 and 1925 reveal that as a result of wartime nationalism and divisions between soldiers and civilians, modes of mourning shifted during the war from personal, descriptive, and direct representations of grief, to emotionally guarded and collectively oriented ones. In response to this stoicism, Ravel and many of his peers sought new ways of managing grief, including keeping the memory of lost loved ones vividly present through celebrating death anniversaries publicly and privately, collecting photographs, obituaries, and other objects that once belonged to loved ones, sharing their grief with other mourners, and performing or composing music that allowed them to recall corporeally the presence of those they mourned. Analysis of the wartime works of Ravel's contemporaries reveals that many of them wrote music that not only offered a space for audiences and performers to mourn, but also justified the sacrifices and grief engendered by the war by framing them optimistically as sources of France's strength and eventual victory. By drawing on archival research, psychoanalytic theory, memory and trauma studies, and cultural history, I show how Ravel engaged with and in some instances subtly resisted nationally-oriented French cultures of mourning through providing his listeners with musical portraits of the psychic difficulty of grief and trauma in Le Tombeau de Couperin (1918), Frontispice (1919), and La Valse (1920). I demonstrate as well how Ravel's specific brand of rhythmically regular and kinesthetically demanding postwar modernism, evident in works like Le Tombeau de Couperin, the Sonata for Violin and Violoncello (1922), the Sonata for Violin and Piano (1927), and the Piano Concerto in G Major (1932), allowed Ravel to convey his own grief, while also providing a musical means for his friends Helene Jourdan-Morhange and Marguerite Long to physically work through, perform, and share their grief with one another.

ISBN: 9781303945380Subjects--Topical Terms:

516178
Music.

Grieving Through Music in Interwar France: Maurice Ravel and His Circle, 1914-1934.
LDR:03859nmm a2200301 4500 001 2061246
005 20150929074146.5
008 170521s2014 ||||||||||||||||| ||eng d
020 $a 9781303945380
035 $a (MiAaPQ)AAI3622666
035 $a AAI3622666
040 $a MiAaPQ $c MiAaPQ
100 1 $a Rogers, Jillian Corinne. $3 3175491
245 1 0 $a Grieving Through Music in Interwar France: Maurice Ravel and His Circle, 1914-1934.
300 $a 338 p.
500 $a Source: Dissertation Abstracts International, Volume: 75-09(E), Section: A.
500 $a Adviser: Tamara Levitz.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2014.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Between 1914 and 1918, the French modernist composer Maurice Ravel was deeply affected by his experiences as a soldier in World War I, the deaths of many friends in combat, and the passing of loved ones on the home front. The aim of this dissertation is to determine how the music that Ravel wrote and performed after 1914 engaged with contemporary French cultures of mourning. Archival research in Paris and the United States has allowed me to examine funeral accounts and obituaries in late nineteenth- and early twentieth-century periodicals, as well as the correspondence, diaries, scrapbooks, and collected materials of Ravel and his grieving friends, in order to ascertain how grief and its display were socially constructed and understood in interwar France within Ravel's social circle. Obituaries and funeral accounts published in Parisian periodicals between 1875 and 1925 reveal that as a result of wartime nationalism and divisions between soldiers and civilians, modes of mourning shifted during the war from personal, descriptive, and direct representations of grief, to emotionally guarded and collectively oriented ones. In response to this stoicism, Ravel and many of his peers sought new ways of managing grief, including keeping the memory of lost loved ones vividly present through celebrating death anniversaries publicly and privately, collecting photographs, obituaries, and other objects that once belonged to loved ones, sharing their grief with other mourners, and performing or composing music that allowed them to recall corporeally the presence of those they mourned. Analysis of the wartime works of Ravel's contemporaries reveals that many of them wrote music that not only offered a space for audiences and performers to mourn, but also justified the sacrifices and grief engendered by the war by framing them optimistically as sources of France's strength and eventual victory. By drawing on archival research, psychoanalytic theory, memory and trauma studies, and cultural history, I show how Ravel engaged with and in some instances subtly resisted nationally-oriented French cultures of mourning through providing his listeners with musical portraits of the psychic difficulty of grief and trauma in Le Tombeau de Couperin (1918), Frontispice (1919), and La Valse (1920). I demonstrate as well how Ravel's specific brand of rhythmically regular and kinesthetically demanding postwar modernism, evident in works like Le Tombeau de Couperin, the Sonata for Violin and Violoncello (1922), the Sonata for Violin and Piano (1927), and the Piano Concerto in G Major (1932), allowed Ravel to convey his own grief, while also providing a musical means for his friends Helene Jourdan-Morhange and Marguerite Long to physically work through, perform, and share their grief with one another.
590 $a School code: 0031.
650 4 $a Music. $3 516178
650 4 $a European history. $2 bicssc $3 1972904
690 $a 0413
690 $a 0335
710 2 $a University of California, Los Angeles. $b Musicology 0604. $3 2095980
773 0 $t Dissertation Abstracts International $g 75-09A(E).
790 $a 0031
791 $a Ph.D.
792 $a 2014
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3622666