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L’importation en France de la musique soviétique entre 1945 et 1956 : formes, enjeux et débats

Abstract : My work, to date focused on the period from 1945 to 1956, aims to provide material to explore correlations between music and politics in general, and those pertaining to the Soviet Union in particular. Specifically, how the French public was introduced to Soviet music, and the projected image of this repertoire. It is sometimes said that the decade that followed the Second World War was the most enigmatic in Soviet history. Essential documents (archives and manuscripts, printed texts, testimonies, illustrations, and so on) that might aid in having detailed insights into the domestic and foreign politics of the time are absent. My challenge here then is to examine the extent to which topics exposed by the French press during the Soviet era were subordinat- ed to political interests. However, it was important first to analyse the material conditions in which access to Soviet musical culture was available, followed by concrete examples of the system’s use and appropriation of same. Through exhaustive consultations of all specialised contemporary periodicals a comprehensive inventory was drawn up, comprising concerts given in Paris and the French provinces, through radio programme listings and discographic editions. This provided the basis on which I surveyed the musical works from the ex-Soviet Socialist Republics that could be heard in France during this period. The second part of my research was devoted to an analysis of the perception in France of Soviet culture at that time, through two types of sources: ministerial, and those fashioned by sympathetic political and cultural organisations. The French Communist Party features in particular in the latter; the Soviet Union was the model of a communist society needing to be promoted in France. The Party strove to improve the image of the Soviet Union in France, gratifying all cultural matters likely to appeal to the population. By focusing on contemporary writings based on articles concerning developments in music, my aim was to propose a theoretical framework for the study of the French Communist Party. In brief, this was ground-breaking work through an analysis of the reception of Soviet music in France from aesthetic, historic and a technical perspectives, ethically and politically speaking. Instead of a purely musicological approach, here I considered all experiential and institutional concerns related to the consumption of Soviet music in France, and this on a hitherto unmatched observational scale, integrating the entire gamut of appropriate intermediaries.
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http://docnum.univ-lorraine.fr/ulprive/DDOC_T_2019_0248_THISSELIN.pdf
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https://hal.univ-lorraine.fr/tel-02517443
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Submitted on : Tuesday, March 24, 2020 - 3:36:58 PM
Last modification on : Wednesday, March 25, 2020 - 1:39:08 AM

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  • HAL Id : tel-02517443, version 1

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Thomas Thisselin. L’importation en France de la musique soviétique entre 1945 et 1956 : formes, enjeux et débats. Musique, musicologie et arts de la scène. Université de Lorraine, 2019. Français. ⟨NNT : 2019LORR0248⟩. ⟨tel-02517443⟩

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