- The Oxford Handbook of the New Cultural History of Music
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article identifies the ideological subtexts that pushed Yvette Guilbert to create supposedly new repertoire that was dedicated to the celebration of the chanson populaire and the chanson ancienne. It looks at how Guilbert defined her conception of the “canon” of the chanson through its process of historicization, and examines Guilbert's career up to 1914. This article also studies her early pedagogical career, in light of the other modern pedagogical experiences that were developed in France.
Jacqueline Waeber studied at the Université de Genève in France and is currently associate professor of music at Duke University. Her publications include Musique et geste en France de Lully à la Révolution: Études sur la musique, le théâtre, et la danse (2009) and “Jean-Jacques Rousseau's ‘unité de mélodie,’ ” in the Journal of the American Musicological Society 62(1) (2009).
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