Politics of Plainchant in fin-de-si�e France
Regular price
€192.20
14 days return policy
Shipping & Delivery
A01=Katharine Ellis
Author_Katharine Ellis
Benedictine monasticism
Category=AVLK
Catholic Church-state relations
Chambre Syndicale
Chant Reform
Charcot
Combe's Account
Combe’s Account
De Solesmes
Dom Mocquereau
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
French anticlericalism studies
French Music Publishing
Gregorian Chant
Gregorian chant scholarship
Jean Martin Charcot
Justus Ut Palma
Liber Gradualis
Liber Usualis
liturgical music history
Ministre Du Commerce
Motu Proprio
musicological political analysis
Napoleon III
Nationalist Level
Place De La Concorde
plainchant reform in France
Print Unions
Rhythmic Signs
Saint Martin De
Schola Cantorum
Solesmes Editions
Vatican Decree
Vatican Edition
Victor Emmanuel III
Product details
- ISBN 9781409463733
- Weight: 400g
- Dimensions: 156 x 234mm
- Publication Date: 28 Apr 2013
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
Secure
checkout
Fast Shipping
Easy returns
This book tells three inter-related stories that radically alter our perspective on plainchant reform at the turn of the twentieth century and highlight the value of liturgical music history to our understanding of French government anticlericalism. It offers at once a new history of the rise of the Benedictines of Solesmes to official dominance over Catholic editions of plainchant worldwide, a new optic on the French liturgical publishing industry during a period of international crisis for the publication of plainchant notation, and an exploration of how, both despite and because of official hostility, French Catholics could bend Republican anticlericalism at the highest level to their own ends. The narrative relates how Auguste Pécoul, a former French diplomat and Benedictine novice, masterminded an undercover campaign to aid the Gregorian agenda of the Solesmes monks via French government intervention at the Vatican. His vehicle: trades unionists from within the book industry, whom he mobilized into nationalist protest against Vatican attempts to enshrine a single, contested, and German, version of the musical text as canon law. Yet the political scheming necessitated by Pécoul’s double involvement with Solesmes and the print unions almost spun out of control as his Benedictine contacts struggled with internal division and anticlerical persecution. The results are as musicologically significant for the study of Solesmes as they are instructive for the study of Church-State relations.
Katharine Ellis is Professor of Music at Royal Holloway. She is a cultural historian of music in nineteenth-century France, author of two monographs (Music Criticism in Nineteenth-Century France (CUP, 1995) and Interpreting the Musical Past (OUP, 2005)), and joint editor with David Charlton of a collection of essays on Berlioz (The Musical Voyager, Peter Lang, 2007). In her research she seeks to explain what different kinds of music meant to those who experienced them, used them and avoided them, and to probe how music and musicians operated in light of cultural, social and regulatory frameworks.
