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Simon Trezise - The Cambridge Companion to French Music

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Simon Trezise The Cambridge Companion to French Music
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France has a long and rich music history that has had a far-reaching impact upon music and cultures around the world. This accessible Companion provides a comprehensive introduction to the music of France. With chapters on a range of music genres, internationally renowned authors survey music-making from the early middle ages to the present day. The first part provides a complete chronological history structured around key historical events. The second part considers opera and ballet and their institutions and works, and the third part explores traditional and popular music. In the final part, contributors analyse five themes and topics, including the early church and its institutions, manuscript sources, the musical aesthetics of the Sicle des Lumires, and music at the court during the ancien rgime. Illustrated with photographs and music examples, this book will be essential reading for both students and music lovers.

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The Cambridge Companion to French Music

France has a long and rich music history that has had a far-reaching impact upon music and cultures around the world. This accessible Companion provides a comprehensive introduction to the music of France. With chapters on a range of music genres, internationally renowned authors survey music-making from the early Middle Ages to the present day. The first part provides a complete chronological history structured around key historical events. The second part considers opera and ballet and their institutions and works, and the third part explores traditional and popular music. In the final part, contributors analyse five themes and topics, including the early church and its institutions, manuscript sources, the musical aesthetics of the Sicle des Lumires and music at the court during the ancien rgime . Illustrated with photographs and music examples, this book will be essential reading for both students and music lovers.

SIMON TREZISE is an associate professor in the School of Drama, Film and Music at Trinity College Dublin. His research focuses on the music of Debussy and France in the late nineteenth and early twentieth centuries, the history and practice of recording, aspects of performance practice and film music. His publications include Debussy : La mer (Cambridge, 1995) and The Cambridge Companion to Debussy (as editor, Cambridge, ).

Cambridge Companions to Music

For a list of titles published in the series, please see .

The Cambridge Companion to French Music
Edited by
Simon Trezise
Trinity College Dublin
University Printing House Cambridge CB2 8BS United Kingdom Cambridge - photo 1
University Printing House Cambridge CB2 8BS United Kingdom Cambridge - photo 2
University Printing House, Cambridge CB2 8BS, United Kingdom
Cambridge University Press is part of the University of Cambridge.
It furthers the Universitys mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence.
www.cambridge.org
Information on this title: www.cambridge.org/9780521701761
Cambridge University Press 2015
This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
First published 2015
Printed in the United Kingdom by Clays, St Ives plc
A catalogue record for this publication is available from the British Library
Library of Congress Cataloguing in Publication data
The Cambridge companion to French music / edited by Simon Trezise.
pages cm. (Cambridge companions to music)
ISBN 978-0-521-70176-1 (paperback)
1. Music France History and criticism. I. Trezise, Simon, editor of compilation.
ML270.C36 2014
780.944dc23
2014013700
ISBN 978-0-521-87794-7 Hardback
ISBN 978-0-521-70176-1 Paperback
Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

In memoriam Debbie Metrustry

6 April 196111 February 2010

Contents
Simon Trezise
Alice V. Clark
Lawrence Earp
Fabrice Fitch
Peter Bennett and Georgia Cowart
Debra Nagy
Michael McClellan and Simon Trezise
Simon Trezise
Andy Fry
Jonathan Goldman
Jacqueline Waeber
Steven Huebner
Luc Charles-Dominique
David Looseley
John Haines
Andrew Tomasello
Jeanice Brooks
Georgia Cowart
Katharine Ellis
Figures

The editor and publishers acknowledge the following sources of copyright material and are grateful for the permissions granted. While every effort has been made, it has not always been possible to identify the sources of all material used, or to trace all copyright holders. If any omissions are brought to our notice, we will be happy to include the appropriate acknowledgements on reprinting .

Tables
Music examples
Contributors
Peter Bennett is Associate Professor of Musicology at Case Western Reserve University and Head of Harpsichord at the Cleveland Institute of Music. His research and performance interests cover the sixteenth to eighteenth centuries, with a particular focus on the intersection of music, politics and wider intellectual history at the court of Louis XIII. His recent publications include Sacred Repertories in Paris under Louis XIII (2009) and Antoine Boesset: Complete Sacred Music (2010).
Jeanice Brooks is a professor of music at the University of Southampton. She works on French music and culture in the Renaissance and gender studies. Her research on women and song has led to new work on domestic music performance in Britain. She is author of Courtly Song in Late Sixteenth-Century France () and The Musical Work of Nadia Boulanger: Performing Past and Future between the Wars (2013).
Luc Charles-Dominique is a professor of ethnomusicology at the University of NiceSophia Antipolis. He is a member of the Institut Universitaire de France. He has written extensively on traditional music. His books include Les mntriers franais sous lancien rgime (1994) and Musiques savantes, musiques populaires: les symboliques du sonore en France, 12001750 (2006).
Alice V. Clark is Professor of Music History at Loyola University New Orleans, where she teaches a wide range of courses for music majors and other students. Her scholarship focuses on the fourteenth-century motet; her recent publications include The motets read and heard, in Deborah McGrady and Jennifer Bain (eds), A Companion to Guillaume de Machaut: An Interdisciplinary Approach to the Master (2012), Prope est ruina : the transformation of a medieval tenor, in Ann Buckley and Cynthia J. Cyrus (eds), Music, Dance, and Society: Medieval and Renaissance Studies in Memory of Ingrid G. Brainard (2011) and The fourteenth-century motet, in the forthcoming Cambridge History of Medieval Music , edited by Mark Everist.
Georgia Cowart is Professor of Musicology at Case Western Reserve University. Her published work includes The Origins of Modern Musical Criticism: French and Italian Music, 16001750 (), as well as articles on the intersections of music, art, ideology and aesthetics in seventeenth- and eighteenth-century France.
Lawrence Earp is Professor of Music at the University of Wisconsin-Madison. He is the author of Guillaume de Machaut: A Guide to Research (1995). His published articles focus on music in late medieval France.
Katharine Ellis holds the Stanley Hugh Badock Chair in Music at the University of Bristol. She is author of three monographs: Music Criticism in Nineteenth-Century France: La Revue et gazette musicale de Paris, 183480 (Cambridge, 1995), Interpreting the Musical Past: Early Music in Nineteenth-Century France ( and The Politics of Plainchant in fin de sicle France (2013). Her research is directed towards explaining how music and musicians operated in the light of cultural, social and regulatory frameworks.
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