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“L'art N'a Pas De Patrie?” Musical Production and Resistance in Nazi

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“L'art N'a Pas De Patrie?” Musical Production and Resistance in Nazi Title Page “L’art n’a pas de patrie?” Musical Production and Resistance in Nazi-Occupied Paris, 1940-1944 by Julie Ann Cleary B.M. in Clarinet Performance, Rhode Island College, 2012 M.F.A. in Historical Musicology, Brandeis University, 2014 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Membership Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Julie Ann Cleary It was defended on April 22, 2019 and approved by Dr. Olivia Bloechl, Professor, Department of Music Dr. Lisa Brush, Professor, Department of Sociology Dr. Michael Heller, Associate Professor, Department of Music Dr. Deane L. Root, Professor, Department of Music Dissertation Director: M.A. James P. Cassaro, Professor, Department of Music ii Copyright © by Julie Ann Cleary 2019 iii Abstract “L’art n’a pas de patrie?” Music Production and Resistance in Nazi-Occupied Paris, 1940-1944 Julie Ann Cleary, Ph.D. University of Pittsburgh, 2019 Scholarship from various fields including history, Vichy studies, sociology, and musicology have dissected myths surrounding the Occupation of France (1940-1944), which fall into two generalities of total collaboration or total resistance. The reality lies in the middle, in which many individuals participated in resistance or collaboration in a variety of degrees. I argue that composing, performing, and listening to music are substantial resistant acts, using the resistance movements in Occupied Paris as a case study. This study has two overarching goals. The first is to examine music for resistance, or how music is used tactically to turn public opinion towards and to mobilize citizens for the French Résistance. The second is to study music as resistance, in which music frames the experiences of composers, performers, and audiences to understand life under oppressive regimes and imagine possibilities outside of its terror. Through music, the figures in this study maintain a sense of agency by meeting the abject horror of the Nazi agenda on their terms. Utilizing James C. Scott’s theory of public and hidden transcripts as mediated by Michel Foucault’s analysis of power/knowledge formation, this dissertation analyzes the various ways in which resistance organizations and its members employ music to subvert and resist totalitarian regimes. Chapters 1 and 2 centers on the radio as a tool of the resistance and how listening is a resistance tactic. Chapter 3 analyzes how the Front national des musiciens uses the performance and composition of music as a resistance force, as expressed in its underground newspaper iv Musicien d’aujourd’hui. Finally, Chapter 4 follows the lived experience of Elsa Barraine, a woman Jewish composer active in the resistance who understood Occupation through her engagement with her passion for music. Through this study, I produce a clearer understanding of how resistance groups during the Occupation of France utilized music as a real tactic for mobilization and resistance. I argue that resistance itself is a refusal to be subsumed by another, one that the individuals highlighted in this project risked both their careers and their lives to uphold. v Table of Contents Acknowledgements ..................................................................................................................... xii 1.0 Introduction ............................................................................................................................. 1 1.1 Archival Materials and Methodology ........................................................................... 7 1.2 Literary Review ............................................................................................................ 18 1.2.1 The Occupation of France and Music ............................................................. 18 1.2.2 Social Movement Theory .................................................................................. 23 1.2.3 Music and Resistance ........................................................................................ 26 1.3 Project Structure .......................................................................................................... 32 1.3.1 Collective Radio Listening in Occupied Paris ................................................ 32 1.3.2 From Collaboration to Resistance: Pierre Schaeffer’s Journey through the Radio ........................................................................................................................... 33 1.3.3 Resistance Tactics of the Front national des musiciens ................................. 35 1.3.4 Elsa Barraine’s Personal Narrative of Resistance as Survival ..................... 36 2.0 Collective Radio Listening in Occupied Paris .................................................................... 38 2.1 The Creation of Radio Londres................................................................................... 39 2.2 Theories of Collective Identity .................................................................................... 41 2.3 Community Formation ................................................................................................ 44 2.4 French Collective Listening ......................................................................................... 50 2.5 A Song of Resistance .................................................................................................... 60 2.6 Conclusion: Listening as Resistance ........................................................................... 69 vi 3.0 From Collaboration to Resistance: Pierre Schaeffer’s Journey through the Radio ....................................................................................................................................................... 72 3.1 Pierre Schaeffer and Jeune France’s French Utopia ................................................ 73 3.2 The Studio d’Essai—From New Artistic Endeavors to the Résistance ................... 79 3.3 La Coquille à planètes, or a “Funny Time for a Funny Experiment” ...................... 82 3.3.1 Meeting Pisces ................................................................................................... 90 3.3.2 Meeting Gemini ................................................................................................. 92 3.4 Schaeffer’s Resistance Work ....................................................................................... 96 3.5 Conclusion: Is La Coquille à planètes a Resistance Work? ....................................... 99 4.0 Resistance Tactics of the Front national des musiciens ................................................... 107 4.1 Music as Propaganda ................................................................................................. 110 4.2 The “Patriots” ............................................................................................................. 113 4.3 The “Collaborators”—The Case of Émile Vuillermoz ........................................... 120 4.4 Following Debussy’s Example: FNM’s Concept of Collective Identity ................. 124 4.5 Collaborative Actions by Members of the FNM? .................................................... 129 4.6 Conclusion ................................................................................................................... 138 5.0 Elsa Barraine’s Personal Narrative of Resistance as Survival ....................................... 142 5.1 Barraine’s Life and Work with the Résistance ........................................................ 144 5.2 A Means of Survival: Narratives of the Occupation ............................................... 147 5.3 Understanding Trauma through Art ........................................................................ 158 5.4 Conclusion: Rethinking Music and Resistance ........................................................ 169 6.0 Conclusion ........................................................................................................................... 172 Appendix A Archival Materials ............................................................................................... 177 vii Appendix B Plan des 100 heures Program ............................................................................. 180 Bibliography .............................................................................................................................. 182 viii List of Tables Table 1 List of French archives and primary sources ........................................................... 177 Table 2 Timetable for Plan des 100 heures ............................................................................. 180 ix List of Figures Figure 1. Public and Private Transcripts of Political Regime and Social Movement .......... 11 Figure 2. "Radio Paris," Archives Nationales, Salle des inventaires virtuelle, 72AJ/226 Dossier no. 2 ..................................................................................................................... 52 Figure 3. "L'Armistice," Archives Nationales, Salle des inventaires virtuelle, 72AJ/226 Dossier no. 2 ..................................................................................................................... 54 Figure 4. "Les Journaux," Archives Nationales, Salle de inventaires virtuelle, 72AJ/226 Dossier no. 2 ....................................................................................................................
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