André Jolivet: music, art and literature
- Submitting institution
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Cardiff University / Prifysgol Caerdydd
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 95928562
- Type
- B - Edited book
- DOI
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10.4324/9780429429255
- Publisher
- Routledge
- ISBN
- 9781472442956
- Open access status
- -
- Month of publication
- November
- Year of publication
- 2018
- URL
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https://doi.org/10.4324/9780429429255
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Conceived and initiated by its contributing editor Caroline Rae, this is the first book in English on André Jolivet. It presents new research by leading international scholars, as well as the composer’s daughter Christine Jolivet-Erlih, to investigate and assess the composer’s style and compositional process, influence and activities from the 1920s to his last works. Although widely acknowledged as a leading French composer of his generation, Jolivet is among the least understood and one whose wider contribution has hitherto received little attention. Through considering the sometimes highly politicised reasons for the comparative neglect of Jolivet’s later works, this study also seeks to overturn the erroneous view that following his radical innovations of the interwar years Jolivet retreated into retrospective traditionalism, an attitude that emerged following his rupture with Boulez during the 1950s.
Thirteen chapters include two by Caroline Rae. ‘Jolivet and the visual arts: interactions and influences’ explores, for the first time, the significance of his contact with the Cubist painters Georges Valmier and Albert Gleizes whose creative aesthetics informed Jolivet’s ideas about religiosity and the spiritual as well as his use of the Golden Section as a compositional construct. Through discussing Jolivet’s paintings and drawings, this chapter also demonstrates how his artistic output represented a creative laboratory for his compositional thinking. Rae’s second chapter ‘Sourcing Jolivet’s compositional aesthetic: literary influences and his library’ investigates the diverse literary, philosophical and esoteric sources that shaped his creative aesthetic while assessing, for the first time, the motivation for his stylistic reorientation of the 1940s against a background of wider French Catholic revivalism. Rae also authored a substantial new Chronology of Jolivet’s life and works, the first in English, a contextual overview proposing a new assessment of Jolivet’s placing in twentieth-century French music, and translated five chapters originally written in French.
- Author contribution statement
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- Non-English
- No
- English abstract
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