By Eric Drott
In may well 1968, France teetered close to revolution as a chain of pupil protests spiraled into the most important normal strike the rustic has ever identified. within the 40 years due to the fact that, could '68 has come to occupy a novel position within the glossy political mind's eye, not only in France yet internationally. Eric Drott examines the social, political, and cultural results of may perhaps '68 on a wide selection of tune in France, from the preliminary surprise of 1968 during the "long" Seventies and the election of Mitterrand and the socialists in 1981. Drott's special account of ways assorted song groups constructed in line with 1968 and his pathbreaking reflections at the nature and importance of musical style come jointly to supply insights into the relationships that hyperlink tune, identification, and politics.
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Additional info for Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981 (California Studies in 20th-Century Music)
In certain cases this led to a reconceptualization of the musician as worker. In other cases it led to a questioning of the status of the artist as a privileged, specialized social category. Uniting these and other points of intersection between music and the May events was the question of identity: at the same time that the appropriation of songs like “The Internationale” helped certain agents fashion themselves as revolutionary subjects, musicians were compelled to reframe their professional identity as artists as pressure mounted to contribute directly to the social movement.
Arriving at the Renault factory toward midnight, the students were greeted by gates that had been locked and barricaded. On a truck parked in front of the factory a CGT official addressed the crowd. ”46 Confronted with these physical barriers separating them from the union rank and file, the marchers resorted to song as a way of both demonstrating their good faith and making contact across the factory walls. One eyewitness recounted the scene: “We wave. They wave back. We sing the Internationale.
In chapter 5, attention turns to another legacy of May: namely, the desire to open up the field of cultural production. Specifically, chapter 5 traces the influence that the discourse on cultural democratization exerted upon the world of contemporary classical music during the 1970s. No less than its counterparts in popular music and jazz, avant-garde classical music witnessed a surge in popularity in the months and years following May ’68. Yet the renewed interest in the avant-garde proved short-lived, and by the early 1970s commentators were virtually unanimous in describing a state of crisis within the new music scene.
Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981 (California Studies in 20th-Century Music) by Eric Drott