Music of the French Revolution

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Darnton, R 1971, ‘In Search of Enlightenment: Recent Attempts to Create a Social History of Ideas’, Journal of Modern History, vol. 43.

Robert Darnton, a leading Enlightenment historian, in this article, has called for a return to more restricted notions of what the Enlightenment was, whilst stopping short of a retreat to Enlightenment essentialism. In so doing, Darnton presents an interesting example of, so to speak, a “reverse shift” in Enlightenment studies, since in his earlier writings he has been a forceful proponent of the Enlightenment as a wider social history of ideas.

Maza, S 1993, Private Lives and Public Affairs, University of California Press.

From 1770 to 1789 a succession of highly publicized cases fascinated the attention of the French public. Maza argues that the reporting of these private scandals had a decisive effect on the way in which the French public came to understand public issues in the years before the Revolution. Clearly Maza is thorough and convincing. The most fascinating part of this brilliantly argued book concerns the whole idea of how public opinion is first formed in a country that is politically mature but lacking effective means of mass communication.

Hudson, D 1973-4, In Defence of Reform: French Government Propaganda during the Maupeou Crisis, French Historical Studies VIII, pp. 51-76.

In this article Hudson shows the relevance of propaganda as a tool of the French parliament to carry out its own agenda. He argues that more than a public tool, this was a tool used by the government to propaganda their ideals to the masses in order to create public support for their causes.

Billington, J 1980, Fire in the Minds of Men: Origins of the Revolutionary Faith, Basic Books.

Billington is interested not in revolutions; but revolutionaries – the innovative creators of a new tradition. His historical frame extends from the waning of the French Revolution in the late eighteenth century to the beginnings of the Russian Revolution in the early twentieth century.

Mongredien, J 1996, French Music from the Enlightenment to Romanticism 1789-1830, Amadeus Press.

Although the years from 1789 to 1830 have been unjustly neglected by musicologists, a closer examination of the musical activity of the day reveals a rich period in French musical life. This is the first book to focus exclusively on French music history from the late eighteenth century to the early nineteenth century. Painting a full picture of the musical works and genres in vogue at the time – from revolutionary hymns and operas to sacred, symphonic, and instrumental music – the author aims to fill the gap in music history that separates the Age of Enlightenment from romanticism in France. Mongredien describes the history of the institutions that supported the growing feverish musical activity, including the musical theaters of Paris, the Conservatoire, the Tuileries Chapel, and various concert societies.

Kennedy, E 1989, A cultural history of the French revolution, Yale University Press.

In this book, Kennedy discusses the effects of the Revolution on French painting, music, fiction, theater, philosophy, science, education, and religion.

Doyle, W 1990, The Oxford history of the French revolution, Oxford University Press.

Doyle portrays a comprehensive examination of the Revolution and provides a narrative historical overview. This is an ideal starting point for readers interested in this fascinating historical period. Doyle, noted French historian, place the French Revolution in historical and social context for the reader.

Pierre, C 1904, Hymns et chansons de la Revolution francaise, Imperial Nationale, Paris.

This book of Pierre concentrates on the hymns that were written during the Revolutionary period. It is a well documented source of the hymns that were popularized as a form of mass propaganda during the Revolution.

Pierre, C 1899, Musique des Fêtes et Cérémonies de la Révolution Française, Imprimerie Nationale.

Constant Pierre was the first known musical historian of the historian of the French Revolution who took upon himself the mammoth task of documenting all the songs, hymns, anthems written during the period by various noted musicians of the era. This book is an amalgamation of all the songs and anthems of the Revolution.

Grout, D J, Williams, H W 2003, “French Opera during French Revolution”, A Short History of French Opera, Columbia University Press.

When first published in 1947, “A Short History of Opera” immediately achieved international status as a classic in the field. This thoroughly revised and expanded fourth edition examines not only the standard performance repertoire, but also works considered important for the genre’s development, from its Greek forerunners to the present day. This particular article gives a glimpse into the world of opera during the revolution and the role it played in propaganda.

Mason, L 1996, Singing the French Revolution: Popular Culture and Politics, 1787-1799, Cornell University Press.

In the 1970s and 1980s, students of the French Revolution built upon an earlier wave of revisionism which had argued that the events of 1789 to 1794 were primarily political rather than social in nature. Scholars have tried to explore the history of the origins, accomplishments, or legacies of the Revolution, has continued to explore revolutionary language, festivals, printed discourse and iconography as a means to understand the political culture of the Revolution. This book by Laura Mason, Singing the French Revolution: Popular Culture and Politics, 1787-1799, contributes to this literature on the cultural history of the Revolution.

Smith, R L and Potter, C 2006, French Music since Berlioz, Ashgate Publishing, Ltd.

This volume written by Smith and Potter explores key developments in French classical music during the 19th and 20th centuries. It draws on the expertise of a range of French music scholars who provide their own perspectives on particular aspects of the subject.

Johnson, J H 1995, Listening In Paris: A Cultural History, University of California Press.

Beginning with the simple question, “Why did audiences grow silent?” Listening in Paris gives a spectator’s-eye view of opera and concert life from the Old Regime to the Romantic era, describing the transformation in musical experience from social event to profound aesthetic encounter. James H. Johnson recreates the experience of audiences during these rich decades with brio and wit. Woven into the narrative is an analysis of the political, musical, and aesthetic factors that produced more engaged listening. Johnson shows the gradual pacification of audiences from loud and unruly listeners to the attentive public we know today.

Grout, D J, Williams, H W 2003, A Short History of Opera, Columbia University Press, Ch. 17, p. 335.

“A Short History of Opera” is a classic in the field. It examines the standard performance repertoire, but also works considered important for the genre’s development, from its Greek forerunners to the present day..

Christensen, T S 2003, The Cambridge History of Western Music Theory, Cambridge University Press, pp. 61-62.

The Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day. Richly enhanced with illustrations, graphics, examples and cross-citations, as well as being thoroughly indexed and supplemented by comprehensive bibliographies, this book will be an invaluable resource for students and scholars alike.

Donakowski, C 1978, ‘A Muse for the Masses: Ritual and Music in an Age of Democratic Revolution, 1770-1870’, The Journal of Religion vol. 58:4, p. 48.

This is an article that best describes the philosophies behind the propaganda that was used during the revolutions through non-print media and helped in establishing public sphere in during the age. This article is important to our study as it gives us an overview of the styles of propaganda that was used during the revolution.

Fauchet, A 1790, Journal de Paris.