Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon by

Description: Teaching Stravinsky by Kimberly A. Francis Drawing upon over one thousand pages of letters and scores, Teaching Stravinsky examines the extent to which Boulanger played a foundational role in defining, defending, and ultimately consecrating Stravinskys canonical identity, and considers how the quotidian events in the lives of these two icons of modernism informed both their art and their professional decisions. FORMAT Hardcover LANGUAGE English CONDITION Brand New Publisher Description In 1929 Nadia Boulanger accepted Igor Stravinskys younger son, Soulima, as her student. Within two years, Stravinsky and Boulanger merged their artistic spheres, each influencing and enhancing the cultural work of the other until the composers death in 1971. Teaching Stravinsky tells Boulangers story of the ever-changing nature of her fractious relationship with Stravinksy. Author Kimberly A. Francis explores how Boulangers ownprofessional activity during the turbulent twentieth-century intersected with her efforts on behalf of Stravinsky, and how this facilitated her own influential conversations with the composer about his works whilealso drawing her into close contact with his family. Through the theoretical lens of Bourdieu, and drawing upon over one thousand pages of letters and scores, many published here for the first time, Francis examines the extent to which Boulanger played a foundational role in defining, defending, and ultimately consecrating Stravinskys canonical identity. She considers how the quotidian events in the lives of these two icons of modernism informed both their art and their professional decisions,and convincingly argues for a reevaluation of the influence of women on cultural production during the twentieth century.At once a story of one womans vibrant friendship with aniconic modernist composer, and a case study in how gendered polemics informed professional negotiations of the artistic-political fields of the twentieth-century, Teaching Stravinsky sheds new light not only on how Boulanger taught Stravinsky, but also how, in doing so, she managed to influence the course of modernism itself. Author Biography Kimberly A. Francis is Associate Professor of Music at the University of Guelph, Canada, where she specializes in music of the twentieth and twenty-first centuries and feminist musicology. She serves as Editor-in-Chief for the University of Guelphs award-winning journal Critical Voices: The University of Guelph Book Review Project and served as co-supervisor for the digitization of the Don Campbell Papers at the American Music ResearchCentre. Dr. Francis has been the recipient of a number of grants, including those from the American Musicological Society and the Social Sciences and Humanities Research Council of Canada. Her numerous articles have appeared ineverything from The Musical Quarterly to the Journal of the Society for American Music. Table of Contents Acknowledgements List of Figures List of Tables Note on Translations and Transliterations Abbreviations Note on Sources About the Companion WebsiteIntroduction Boulanger and BourdieuChapter OverviewPART ONE1. Foundations (1929-1932) Membre de famille: Boulanger and Soulima StravinskyA trip to BrusselsLessons and love2. Master Copy: Correcting the Symphonie de psaumes Editorial process and powerSoulima Stravinsky and advanced studiesMain idea or major and minor thirdsA dialogue established3. Surviving the Great Depression: 1932-1936 The last Parisian project: PerséphoneLoss and recovery: 1935-364. Beyond France: 1937-1939 Dumbarton OaksIncreasing tensions, failing healthToward warPART TWO5. The War, 1940-1942 Romantic complications American reunions6. Together, 1942-1945 1943 1944 1945A way homeResidue/rupture7. Redefining a Partnership, Reestablishing an Icon: 1946-1949 Stravinskys MassThe beginning of the endPART THREE8. The Last Project: The Rakes Progress, 1948-1952 An operaThe premiere: Review "[Teaching Stravinsky] add[s] to the understanding of this immensely talented and influential twentieth-century musician...I can recommend...to those interested in the career of one of the great musicians of the last century."--Classical Net"[Stravinsky and Boulangers] was a shifting and not-always-clearly-defined relationship, and in Franciss hands it makes for engrossing reading...she brings Boulanger closer into the fold than ever before."--Gramophone"Teaching Stravinsky is an invaluable contribution to the scholarship of twentieth-century composition and gender studies. The layperson and professional alike will reap rich rewards from this previously underexplored territory. Francis not only mines the intriguing interactions between these two twentieth-century icons, but in the process, creates a vivid portrait of the politics, aesthetics, patronage, and mechanics involved in concert, pedagogical,and publishing arenas in the twentieth century. Her groundbreaking adaptation of sociological theory to frame her subject can serve as a model for subsequent musicological studies, and demonstrates the benefitof eschewing the "great works" paradigm imbued in the literature in favor of a framework that allows for a more complex and fluid realization of the creation of culture."--Journal of the International Alliance for Women in Music Long Description In 1929 Nadia Boulanger accepted Igor Stravinskys younger son, Soulima, as her student. Within two years, Stravinsky and Boulanger merged their artistic spheres, each influencing and enhancing the cultural work of the other until the composers death in 1971. Teaching Stravinsky tells Boulangers story of the ever-changing nature of her fractious relationship with Stravinksy. Author Kimberly A. Francis explores how Boulangers ownprofessional activity during the turbulent twentieth-century intersected with her efforts on behalf of Stravinsky, and how this facilitated her own influential conversations with the composer about his works whilealso drawing her into close contact with his family. Through the theoretical lens of Bourdieu, and drawing upon over one thousand pages of letters and scores, many published here for the first time, Francis examines the extent to which Boulanger played a foundational role in defining, defending, and ultimately consecrating Stravinskys canonical identity. She considers how the quotidian events in the lives of these two icons of modernism informed both their art and their professional decisions,and convincingly argues for a reevaluation of the influence of women on cultural production during the twentieth century.At once a story of one womans vibrant friendship with aniconic modernist composer, and a case study in how gendered polemics informed professional negotiations of the artistic-political fields of the twentieth-century, Teaching Stravinsky sheds new light not only on how Boulanger taught Stravinsky, but also how, in doing so, she managed to influence the course of modernism itself. Review Text "[Teaching Stravinsky] add[s] to the understanding of this immensely talented and influential twentieth-century musician...I can recommend...to those interested in the career of one of the great musicians of the last century."--Classical Net"[Stravinsky and Boulangers] was a shifting and not-always-clearly-defined relationship, and in Franciss hands it makes for engrossing reading...she brings Boulanger closer into the fold than ever before."--Gramophone Review Quote "[Teaching Stravinsky] add[s] to the understanding of this immensely talented and influential twentieth-century musician...I can recommend...to those interested in the career of one of the great musicians of the last century."--Classical Net "[Stravinsky and Boulangers] was a shifting and not-always-clearly-defined relationship, and in Franciss hands it makes for engrossing reading...she brings Boulanger closer into the fold than ever before."--Gramophone "Teaching Stravinsky is an invaluable contribution to the scholarship of twentieth-century composition and gender studies. The layperson and professional alike will reap rich rewards from this previously underexplored territory. Francis not only mines the intriguing interactions between these two twentieth-century icons, but in the process, creates a vivid portrait of the politics, aesthetics, patronage, and mechanics involved in concert, pedagogical, and publishing arenas in the twentieth century. Her groundbreaking adaptation of sociological theory to frame her subject can serve as a model for subsequent musicological studies, and demonstrates the benefit of eschewing the "great works" paradigm imbued in the literature in favor of a framework that allows for a more complex and fluid realization of the creation of culture."--Journal of the International Alliance for Women in Music Feature Selling point: Brings to light an array of unpublished primary sources relating to Stravinsky and Boulangers friendship.Selling point: Offers new theoretical models for feminists and new historiographical models for musicologists.Selling point: The first examination of Boulangers relationship with Stravinsky alongside musical scores and documents. Details ISBN0199373698 Author Kimberly A. Francis Language English ISBN-10 0199373698 ISBN-13 9780199373697 Format Hardcover Media Book DEWEY 780.922 Year 2015 Imprint Oxford University Press USA Audience Professional and Scholarly Short Title TEACHING STRAVINSKY Subtitle Nadia Boulanger and the Consecration of a Modernist Icon Illustrations 27 figures Pages 296 Position Assistant Professor of Music Place of Publication New York Country of Publication United States Affiliation Assistant Professor of Music, University of Guelph Publisher Oxford University Press Inc Publication Date 2015-08-20 UK Release Date 2015-08-20 AU Release Date 2015-08-20 NZ Release Date 2015-08-20 US Release Date 2015-08-20 We've got this At The Nile, if you're looking for it, we've got it. With fast shipping, low prices, friendly service and well over a million items - you're bound to find what you want, at a price you'll love! TheNile_Item_ID:131391867;

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