By Eric Drott
In may possibly 1968, France teetered close to revolution as a chain of scholar protests spiraled into the biggest common strike the rustic has ever identified. within the 40 years due to the fact, may possibly '68 has come to occupy a unique position within the glossy political mind's eye, not only in France yet internationally. Eric Drott examines the social, political, and cultural results of may perhaps '68 on a wide selection of tune in France, from the preliminary surprise of 1968 in the course of the "long" Seventies and the election of Mitterrand and the socialists in 1981. Drott's designated account of ways various tune groups built in line with 1968 and his pathbreaking reflections at the nature and value of musical style come jointly to supply insights into the relationships that hyperlink track, id, and politics.
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Additional info for Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981 (California Studies in 20th-Century Music)
An even more flagrant use of “The Internationale” to express opposition to the symbols of authority occurred the following day, 7 May, during the course of the first truly sizable student demonstration in Paris. That afternoon at least twenty thousand protestors wended their way through the streets of the capital, their march capped by a procession down the Champs-Elysées. Exactly how the demonstrators ended up on this iconic boulevard, in the heart of bourgeois Paris, sheds light on the power ascribed to cultural and historical symbols as instruments of political contest.
This is particularly true in the case of chanson; given the genre’s dominant position in the French musical field, an examination of the changes it underwent in the post-May period would require a book-length study all its own. But aside from the mere question of scope, there is the simple fact that the place the chanson occupied in French cultural life was several orders of magnitude greater than any of the other genres examined here. Introduction | 19 Because of this centrality within the system of genres, the chanson acted in a manner analogous to that of an unmarked term in linguistics: as the horizon against which other, minority tastes stood out.
They had come to protest the closure of the Nanterre campus of the Université de Paris following a series of disturbances, as well as the threatened expulsion of Daniel Cohn-Bendit and seven other members of the Mouvement du 22 mars group for their role in stoking student unrest. The gathering in the Sorbonne followed a well-rehearsed pattern, another in the series of political rallies staged by student militants in recent months, protesting everything from American involvement in Vietnam to the government’s planned restructuring of the French university system.