Jump to ContentJump to Main Navigation
Music and the Elusive RevolutionCultural Politics and Political Culture in France, 1968-1981$
Users without a subscription are not able to see the full content.

Eric Drott

Print publication date: 2011

Print ISBN-13: 9780520268968

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520268968.001.0001

Show Summary Details
Page of

PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 28 September 2021

Contemporary Music, Animation, and Cultural Democratization

Contemporary Music, Animation, and Cultural Democratization

Chapter:
(p.203) Chapter 5 Contemporary Music, Animation, and Cultural Democratization
Source:
Music and the Elusive Revolution
Author(s):

Eric Drott

Publisher:
University of California Press
DOI:10.1525/california/9780520268968.003.0006

This chapter examines efforts to bring contemporary music to the masses, paying particular attention to how they evolved in tandem with discourses and practices of animation musicale. The narrative traced here unfolds along two separate but crisscrossing paths: those of cultural policy and compositional practice. In both cases, the actors involved, be they policy makers or composers, had to balance social demands with their own professional and political interests. For composers, it was necessary in the wake of May '68 to put an end to contemporary music's identification with social and cultural elites. It was this imperative that motivated a number of endeavors, including Luc Ferrari's efforts to propagate an amateur practice of musique concrète, the children's operas produced by the Atelier lyrique du Rhin, and Georges Aperghis's work in the banlieues of Paris. For policy makers within the center-right governments that governed France until 1981, it was necessary to demonstrate that the state's interventions on behalf of the arts were not simply a matter of shoring up “bourgeois culture” but acted in the interests of the entire French polity. For musical and political actors alike, consensus about the need for cultural democratization masked differences in what this phrase meant and how it was to be realized. Indeed, the project of making artistic practice more accessible raised as many questions as it answered.

Keywords:   animation musicale, cultural policy, compositional practice, composers, policy makers, cultural democratization

California Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.