Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde

Paperback | February 1, 2002

byBernard Gendron

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During the late nineteenth and early twentieth century, popular music was considered nothing but vulgar entertainment. Today, jazz and rock music are seen as forms of art, and their practitioners are regularly accorded a status on par with the cultural and political elite. To take just one recent example, Bono, lead singer and lyricist of the rock band U2, got equal and sometimes higher billing than Pope John Paul II on their shared efforts in the Jubilee 2000 debt-relief project.

When and how did popular music earn so much cultural capital? To find out, Bernard Gendron investigates five key historical moments when popular music and avant-garde art transgressed the rigid boundaries separating high and low culture to form friendly alliances. He begins at the end of the nineteenth century in Paris's Montmartre district, where cabarets showcased popular music alongside poetry readings in spaces decorated with modernist art works. Two decades later, Parisian poets and musicians "slumming" in jazz clubs assimilated jazz's aesthetics in their performances and compositions. In the bebop revolution in mid-1940s America, jazz returned the compliment by absorbing modernist devices and postures, in effect transforming itself into an avant-garde art form. Mid-1960s rock music, under the leadership of the Beatles, went from being reviled as vulgar music to being acclaimed as a cutting-edge art form. Finally, Gendron takes us to the Mudd Club in the late 1970s, where New York punk and new wave rockers were setting the aesthetic agenda for a new generation of artists.

Between Montmartre and the Mudd Club should be on the shelves of anyone interested in the intersections between high and low culture, art and music, or history and aesthetics.

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During the late nineteenth and early twentieth century, popular music was considered nothing but vulgar entertainment. Today, jazz and rock music are seen as forms of art, and their practitioners are regularly accorded a status on par with the cultural and political elite. To take just one recent example, Bono, lead singer and lyricist...

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During the late nineteenth and early twentieth centuries, popular music was considered vulgar entertainment. But today, jazz and rock music are seen as forms of art, and their lead practitioners are regularly accorded a status on a par with the cultural elite. When and how did popular music earn so much cultural capital? To find out, B...

Bernard Gendron is a professor of philosophy at the University of Wisconsin-Milwaukee. He is the author of Technology and the Human Condition.

other books by Bernard Gendron

Format:PaperbackDimensions:400 pages, 9 × 6 × 0.9 inPublished:February 1, 2002Publisher:University Of Chicago PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0226287378

ISBN - 13:9780226287379

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Table of Contents

Acknowledgments
1. Introduction
POP INTO ART: FRENCH MODERNISM
Section A: Cabaret Artistry (1840-1920)
2. The Song of Montmartre
3. The Black Cat Goes to the Cabaret Voltaire
Section B: Paris in the Jazz Age (1916-25)
4. Jamming at Le Boeuf
5. Negrophilia
ART INTO POP: AMERICAN POSTMODERNISM
Section A: Jazz at War (1942-50)
6. Moldy Figs and Modernists
7. Bebop under Fire
Section B: The Cultural Accreditation of the Beatles (1963-68)
8. Gaining Respect
9. Accolades
Section C: New York: From New Wave to No Wave (1971-81)
10. Punk before Punk
11. The First Wave
12. No Wave
13. At the Mudd Club
Coda
Notes
Bibliography
Index