Table of Contents

Introduction: Consensus, Resistance and New Music in France
Remembering Debussy: Nostalgia and Modernism in interwar France
Musical allegiances and factions: Ravel, Satie and the Question of Leadership
Polemics and Publicity: Composer-Critic Partnerships
Musical continuities: Sonority, Exoticism and Abstraction
In Search of the Musical esprit du temps
Surface Division, Deep Consensus: Classicism and Secularism and its Challenges
Conclusions, Music for the Patrimoine: Remembering Interwar Music in France

About the Author

BARBARA L. KELLY is Professor of Music, University of Leeds

Reviews

A significant contribution to the field ... Kelly adds to the dynamic understanding of the period ... Due to the clear structure of each chapter and the copious attention to details, this volume will be of use to academics, students and the general interested reader alike. It will no doubt become a standard reference in the field.
*NOTES, March 2015*

Makes an important contribution to French music studies. Beyond those with a particular interest in France, it will also be essential reading for all scholars of music's Modernisms.
*H-FRANCE REVIEW*

Music and Ultra-Modernism in France: A Fragile Consensus, 1913-1939 presents a rich and nuanced exploration of musical Modernism within interwar France that challenges received, and accepted, understandings of this period. . . . Beyond those with a particular interest in France, it will also be essential reading for all scholars of music's Modernisms.
*H-FRANCE*

This book contains a great deal of valuable material.
*MUSICAL OPINION*

This book is a dazzling synthesis of materials, topics, and approaches to music historiography. It sheds new light on a period when alliances between critics and composers were paramount, when the perception of musical aims and aesthetics were considered vital to culture, and when the initiatives of musical historians actively shaped the way people thought about music and themselves.
*FRENCH STUDIES*

Kelly's scholarship and engaging writing is of the highest order, successfully helping us to address a previous deficiency in 20th-century French musicological studies. Highly recommended.
*CHOICE, March 2014*