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Sacred Sounds, Secular Spaces provides the first fundamental reconsideration of music's role in the relationship between the French state and the Catholic Church in the Third Republic, revealing how composers and critics from often opposing ideological factions undermined the secular/sacred binary through composition and musical performance.
List of contents
- Introduction
- Chapter 1: The Catholic Church in Republican Musical Aesthetics
- Chapter 2: Pious Puppets and the Limits of Symbolism
- Chapter 3: Sincerity and the Limits of Symbolism
- Chapter 4: Saint-Eustache: The Republic's Sacred Cathedral
- Chapter 5: The Trocadéro: The Republic's Secular Cathedral
- Chapter 6: The Republic's Righteous Woman at the Opéra-Comique: Jules Massenet's Grisélidis
- Conclusion
- Appendix A: "Les grands oratorios à l'église Saint-Eustache": Programs
- Appendix B: Jules Massenet's La Terre promise: Biblical References
- Appendix C: Programs of the Ten concerts officiels at the 1900 Exposition Universelle
- Bibliography
- Index
About the author
Jennifer Walker is Assistant Professor of Musicology in the School of Music at West Virginia University. Her research focuses on the relationship between sacred music and secular societies, and she is the author of several articles and essays that examine this subject in the context of nineteenth-century France. Her research has been funded by the American Council of Learned Societies and the American Musicological Society.
Summary
Military defeat, political and civil turmoil, and a growing unrest between Catholic traditionalists and increasingly secular Republicans formed the basis of a deep-seated identity crisis in Third Republic France. Beginning in the early 1880s, Republican politicians introduced increasingly secularizing legislation to the parliamentary floor that included, but was not limited to, the secularization of the French educational system. As the divide between Church and State widened on the political stage, more and more composers began writing religious--even liturgical--music for performance in decidedly secular venues, including popular cabaret theaters, prestigious opera houses, and international exhibitions. This trend coincided with Pope Leo XIII's Ralliement politics that encouraged conservative Catholics to "rally" with the Republican government. But the idea of a musical Ralliement has largely gone unquestioned by historians and musicologists alike.
Sacred Sounds, Secular Spaces provides the first fundamental reconsideration of music's role in the relationship between the French state and the Catholic Church in the Third Republic. In doing so, the book dismantles the somewhat simplistic epistemological position that emphasizes a sharp division between the Church and the "secular" Republic during this period. Drawing on extensive archival research, critical reception studies, and musical analysis, author Jennifer Walker reveals how composers and critics from often opposing ideological factions undermined the secular/sacred binary through composition and musical performance in an effort to craft a brand of Frenchness that was built on the dual foundations of secular Republicanism and the heritage of the French Catholic Church.
Additional text
In this deeply researched study, Jennifer Walker shows how in the 1890s masses and concerts were held to honor Saint Genevieve, drawing anti-clerical intellectuals among a rapt bourgeois audience to honor the capital city's patron saint. The book will fascinate readers by opening up new perspectives on Parisian life in the Third Republic.
