by Stella Li | Dec 2, 2015 | Music in Paris in the 1920s (2015)
Throughout this semester in “Paris in the 1920s”, we learned different pieces from the 1920s Paris, not only about what is in the music, but also what comes out of the music, using the five critical lenses: nation, race, gender, sexuality and social class....
by Emma Haupt | Nov 30, 2015 | Music in Paris in the 1920s (2015)
At the beginning of this semester I had little idea of what was happening in Paris in the 1920s. I knew it is right after the first World War and it was the sweet spot before the second war started with a surge of nationalism happening all across Europe. I had some...
by Alexandra Mauney | Nov 27, 2015 | Music in Paris in the 1920s (2015)
The reason I elected to take this course was that I have always been fascinated by the environment of Paris during the early twentieth century. I have often said that if I had a time machine, one of my first stops (after visiting Jesus and John Calvin, respectively)...
by wayne | Nov 27, 2015 | Music in Paris in the 1920s (2015)
When I look back on this class, trying to figure out what exactly I have accomplished, I am always drawn back to one of the first assigned readings, Gumbrecht’s In 1926: Living at the Edge of Time. The book attempted to look at history as if through a...
by schenk | Nov 13, 2015 | Music in Paris in the 1920s (2015)
Dorf’s and Moore’s readings of Satie’s Socrate and Poulenc’s Les Biches and Aubade as works influenced by a queer aesthetic do seem justified to me. The blatant de-sexualization of the text that Satie set (“Great care [is] taken to...
by Tim Apolloni | Nov 9, 2015 | Music in Paris in the 1920s (2015)
I think Moore makes his point fairly clear, that Poulenc used camp quite extensively in his works. His argument is well-thought out, could probably be more concise, but accurately depicts his point. What I had hoped he would comment on, and what I didn’t really...
