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Debussy's Legacy and the Construction of Reputation
Today, Claude Debussy's position as a central figure in twentieth-century concert music is secure, and scholarship has long taken for granted the enduring musical and aesthetic contributions of his compositions. Yet this was not always the case. Unknown to many concert-goers and music scholars is the fact that for years after his death, Debussy's musical aesthetic was perceived as outmoded, decadent, and even harmful for French music. In Debussy's Legacy and the Construction of Reputation, Marianne Wheeldon examines the vicissitudes of the composer's posthumous reception in the 1920s and 30s, and analyzes the confluence of factors that helped to overturn the initial backlash against his musi...
Proof Through the Night
An entertaining cultural history of music during World War I, covering all the major European nations as well as the United States, in both classical and popular genres. The book is lavishly illustrated and includes a CD.
The Rambo Family Tree, Volume 1
Peter Gunnarson Rambo, son of Gunnar Petersson, was born in about 1612 in Hisingen, Sweden. He came to America in 1640 and settled in Christiana, New Sweden (now Delaware). He married Brita Mattsdotter 7 April 1647. They had eight children. He died in 1698. HIs daughter, Gertrude Rambo, was born 19 October 1650. She married Anders Bengtsson. Descendants and relatives lived mainly in Pennsylvania, Delaware, Virginia, North Carolina and Ohio.
Music Research
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Resonant Recoveries
"French Music and Trauma Between the World Wars illustrates that coping with trauma was a central concern for French musicians active after World War I. The losses and violent warfare of World War I shaped how interwar French musicians-from those fighting in the trenches and working in military hospitals to more well-known musicians-engaged with music. Situated at the intersections of musicology, history, sound and performance studies, and psychology and trauma studies, Resonant Recoveries argues that modernists' compositions and musical activities were sonorous locations for managing and performing trauma. Through analysis of archival materials, French medical, philosophical, and literary t...
Voice Lessons
Language, education, politics, and music come together in Katherine Bergeron's Voice Lessons, a study of the French m?lodie in the Belle Epoque. Close readings of songs by Faur?, Debussy, and Ravel, along with poems, sound recordings, and other historical documents, seek to uncovers the cultural meanings of this art: why it emerged, why it mattered, and why it eventually disappeared.
Debussy's Late Style
Debussy's Late Style explores Claude Debussy's musical responses to World War I. This period of composition encompasses the duration of the war and the last four years of Debussy's life. The works that emerged during this time reflect both wartime events and the composer's self-conscious desire to define his own musical legacy as he felt his life nearing its end. Debussy's complete wartime compositions comprise a small but significant body of works, some little known and some now acknowledged to be among the masterpieces of his career. These include the Berceuse héroïque, En Blanc et noir, the Douze Études, the "Noël des enfants qui n'ont plus de maisons," and the three instrumental sonatas (the Cello Sonata; the Sonata for Flute, Viola, and Harp; and the Violin Sonata). Through music analysis, musicology, and cultural history, this study offers interpretive readings of Debussy's late works, focusing in particular on how they reflect the unique cultural milieu of wartime Paris.
The Composer As Intellectual
In The Composer as Intellectual, musicologist Jane Fulcher reveals the extent to which leading French composers between the World Wars were not only aware of but also engaged intellectually and creatively with the central political and ideological issues of the period. Employing recent sociological and historical insights, she demonstrates the extent to which composers, particularly those in Paris since the Dreyfus Affair, considered themselves and were considered to be intellectuals, and interacted closely with intellectuals in other fields. Their consciousness raised by the First World War and the xenophobic nationalism of official culture, some joined parties or movements, allying themsel...
Building the Operatic Museum
Focusing on the operas of Mozart, Gluck, and Rameau, Building the Operatic Museum examines the role that eighteenth-century works played in the opera houses of Paris around the turn of the twentieth century. These works, mostly neglected during the nineteenth century, became the main exhibits in what William Gibbons calls the Operatic Museum -- a physical and conceptual space in which great masterworks from the past and present could, like works of visual art in the Louvre, entertain audiences while educating them in their own history and national identity. Drawing on the fields of musicology, museum studies, art history, and literature, Gibbons explores how this "museum" transformed Parisian musical theater into a place of cultural memory, dedicated to the display of French musical greatness. William Gibbons is Associate Professor of Musicology at Texas Christian University.
