Abstract
This chapter examines the international influence of Pierre Boulez and Pierre Schaeffer, two outstanding figures of French contemporary culture, from a rather unexplored prism, namely, that of their respective roles in the decolonization of French diplomacy during the central decades of the past century. More specifically, it aims to ascertain to what extent, if any, Boulez and Schaeffer’s possible contributions to the decolonization of French diplomacy and culture may be explained—beyond their personal views and intellectual dispositions—in terms of their interaction with the various institutional contexts and material infrastructures and artifacts in which they were involved over the course of their long professional careers. In so doing, this study contends that diplomacy operates through countless practices, observable not only at ministerial headquarters and embassies or international governmental summits but also in a variety of sites, including radio stations and concert halls. The argument this chapter aims to put forth is that the variety of infrastructures and artifacts in which the activities of these two singular personalities were embedded had an additional political effect that reverberates in the wider cultural and political context, facilitating either the continuity of the existing power relations or conversely creating the basis for its subsequent contestation. Despite the participation of Boulez in some important mobilizations in favor of Algerian independence, his combination of sharp modernism as composer and his careful cultivation of European classical music tradition in his role as conductor may be understood as a supreme form of Western cultural rationalism perfectly compatible with a merely superficial reformulation of colonial mentality in comfortable continuity with its corresponding diplomatic inertia. Conversely, Schaeffer’s radical attempt to redefine the frontiers between music and sound, combined with his involvement in different professional capacities—including colonial administration—as an expert in the politics of broadcasting, worldwide and more specifically in Africa, entailed a somewhat paternalistic but real engagement with the course of events that finally were conducive to the decolonization of French diplomacy.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
The author would like to thank Frédéric Ramel, Christian Lequesne, and Cecile Prévost-Thomas and all participants at the workshop “Sounds and Voices on the International Stage: Understanding Musical Diplomacies,” held at Sciences Po Paris in April 2016, for their valuable comments to the oral presentation of the first version of this chapter. Many thanks also to Ms. Miriam Perier for her careful editing of the manuscript. The final content however remains entirely the responsibility of the author.
- 2.
Iver B. Neumann, Diplomatic Sites: A Critical Enquiry, (London: Hurst & Co, 2013).
- 3.
It merges with Damien Mahiet’s perspectives on diplomacy. See Chap. 6 in this volume.
- 4.
Georgina Born and David Hesmondhalgh, ‘Introduction’, in G. Born and D. Hesmondhalgh (eds), Western Music and its Others: Difference, Representation, and Appropriation (Berkeley: University of California Press, 2000), p. 5.
- 5.
Kevin V. Mulcahy, “Exporting Civilization: French Cultural Diplomacy,” Public Culture, Cultural Identity, Cultural Policy (Basingstoke: Palgrave Macmillan, 2016), pp. 33–63.
- 6.
Harriet Rudolph and Gregor M. Metzig (eds), Material Culture in Modern Diplomacy from the 15th to the 20th Century (Berlin: DeGruyter, 2016); Tobias Wille, “Diplomatic Cable,” in Mark Salter (ed) Making Things International 2: Catalysts and Reactions, (Minneapolis: University of Minnesota Press, 2016), pp. 166–178; Jason Dittmer, Diplomatic Material: Affect, Assemblage and Foreign Policy, (Durham: Duke University Press, 2017).
- 7.
Jason Dittmer, “Theorizing a More-than-Human Diplomacy: Assembling the British Foreign Office, 1839–1874,” The Hague Journal of Diplomacy, 11(1) (2016): 84.
- 8.
Frederick Cooper, Citizenship between Empire and Nation: Remaking France and French Africa, 1945–1960, (Princeton: Princeton University Press, 2014) p. 431.
- 9.
Samuel Okoth Opondo, “Diplomacy and Ethnology Between Empire and Nation,” Comparative Studies of South Asia, Africa and the Middle East, 37 (2) (2017): 398.
- 10.
Giles Scott-Smith, “Introduction: Private Diplomacy, Making the Citizen Visible,” New Global Studies, 8(1) (2014): 1.
- 11.
Will Straw, “Cultural scenes,” Loisir et societé/Society and Leisure, 27(2) (2004): 411–422.
- 12.
Daniel Silver, Terry N. Clark and C.J. Navarro Yanez, “Scenes: Social Context in an Age of Contingency,” Social Forces, 88(5) (2004): 2293–2324.
- 13.
On this aspect, see Anne-Sylvie Barthel-Calvet’s chapter in this edited volume.
- 14.
Bruno Latour, “When things strike back: A possible contribution of ‘science studies’ to social sciences,” British Journal of Sociology, 51(1) (2002): 107–23.
- 15.
Harriet Rudolph, “The Material Culture of Diplomacy. The Impact of Objects on the Dynamics of Habsburg-Ottoman Negotiations at the Sublime Porte (1530–1650),” in: Gunda Barth Scalmani, Harriet Rudolph and Christian Steppan (eds.): Politische Kommunikation zwischen Imperien. Der diplomatische Aktionsraum Südost- und Osteuropa, (Innsbruck: Studien Verlag, 2013), pp. 211–212.
- 16.
- 17.
- 18.
Georgina Born, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of Musical Avant-Garde (Berkeley: California University Press, 1995); Anne Veitl, Politiques de la Musique Contemporaine: Le compositeur, la ‘recherche musicale’ et l’État en France de 1958 à 1991 (Paris: L’Harmattan, 1997).
- 19.
Carlos Palombini, “Pierre Schaeffer, 1953: Towards an Experimental Music,” Music & Letters, 17(4) (1993b): 542–557.
- 20.
Jean Jacques Nattiez, (ed.), The Boulez-Cage Correspondence (Cambridge: Cambridge University Press, 1994), p. 145.
- 21.
Mario Vieira de Carvalho, “‘New Music’ between search for identity and autopoiesis,” Theory, Culture and Society, 16(4) (1999): 127.
- 22.
Timothy D., Taylor, Beyond Exoticism: Western Music and the World (Durham: Duke University Press, 2007).
- 23.
Kofi Agawu, Representing African Music: Postcolonial Notes, Queries, Positions (New York: Routledge, 2014).
- 24.
Jane Fulcher, “From ‘The Voice of the Maréchal’ to Musique Concrète: Pierre Schaeffer and the case for cultural history,” in Jean Fulcher (ed) The Oxford Handbook of the New Cultural History of Music (Oxford: Oxford University Press, 2011), pp. 382–383.
- 25.
- 26.
Pierre Schaeffer, Introduction’ to Stéphane Cordier, La radio : reflect de notre temps (Paris: Les editions internationales, 1950), pp. 7–10.
- 27.
Lander, Dan “Radiocasting: Musing on radio and Art,” eContact, 2(3) (1999):1.
- 28.
Robert, Pierre Schaeffer: d’Orphée à MacLuhan, p. 69.
- 29.
The proposal, supported by Schaeffer as delegate of Morocco and Tunisia along with the Soviet Union and other communist states, was refused after substantial debate by a majority of 33 votes against 11 and 19 abstentions. See Documents de la Conférence internationale de radiodiffusion à hautes fréquences Méxique 1948–1949, Documents 804-E. pp. 39–64. Geneva: International Telecommunications Union, itu.int/11.1004/020.1000/4.67.51.fr.208
- 30.
Pierre Schaeffer, In Search of a Concrète Music (Berkeley: University of California Press, 2012), p. 29.
- 31.
Schaeffer, In Search of a Concrète Music, p. 21–22.
- 32.
Schaeffer, In Search of a Concrète Music, p. 22.
- 33.
Frédéric Ramel, “Perpetual Peace and the Idea of Concert in Eighteenth-Century Thought,” in Rebekah Ahrendt, Mark Ferraguto and Damien Mahiet (eds) Music and Diplomacy: From the early Modern Era to the Present (New York: Palgrave Macmillan, 2014), pp. 125–146.
- 34.
On a different conception of diplomatic practices based on music or instruments, see Le Blanc ’s perspective developed and examined in Chap. 5 (by Rebekah Ahrendt) in this volume.
- 35.
Schaeffer, In Search of a Concrète Music, p. 22.
- 36.
Pierre Schaeffer, Le gardien du volcan (Paris: Le Seuil, 1969).
- 37.
Pierre Schaeffer, Les antennes de Jéricho (Paris: Stock, 1978).
- 38.
Schaeffer, Le gardien du volcan, p. 75.
- 39.
Pierre Schaeffer, Traité des objets musicaux (Paris: Le Seuil, 1966), p. 49.
- 40.
Schaeffer, Traité des objets musicaux, p. 41.
- 41.
Jean Jacques Nattiez, Musicologie générale et sémiologie, (Paris: Christian Bourgeois Editeur, 1987), p. 95.
- 42.
Hugues Dufourt, “Pierre Schaeffer: le son comme phénomène de civilization”, Denis Dufour et al. Ouïr, entendre, écouter, comprendre après Schaeffer (Paris: INA-GRM/Buchet/Chastel, 1999), pp. 69–82.
- 43.
Nattiez, Musicologie générale et sémiologie, pp. 121–31.
- 44.
Pierre Schaeffer, “Musique concrète et communication humaine,” L’Homme et la société, 126 (1997): 115–132.
- 45.
Guy Robert, Le vent qui souffle dans la boîte: De la cooperation radiophonique aux coulisses de RFI (Paris: L’Harmattan, 2007), pp. 13–16.
- 46.
Schaeffer, Les antennes de Jéricho, p. 161. Our translation.
- 47.
Philippe Guillemin, “Les élus d’Afrique noire à l’Assemblée nationale sous la Quatrième République,” Revue Française de Science Politique, 8(4) (1958): 861–877.
- 48.
Schaeffer, Les antennes de Jéricho, pp. 41–53.
- 49.
Schaeffer, Les antennes de Jéricho, p. 161. Our translation.
- 50.
Beno Stenberg-Sarel, “La radio en Afrique noire d’expression française,” Communications, 1 (1961): 108–126.
- 51.
Etienne Damone, “Vers un réseau outre-mer,” in Martin Kaltenecker & Karine Le Bail (eds): Pierre Schaeffer: Les constructions impatientes (Paris: CNRS, 2012), pp. 164–176.
- 52.
The number of radio stations rapidly increased. It was 11 in 1955, 15 in 1956, 17 in 1957, 20 in 1958, and 29 in 1959, including among others: Radio AEF Brazzaville, Radio Tchad (Fort lamy), Radio Djibouti, Radio Nouméa, Radio Tananarive in French, Radio Tananarive in Malgache, Radio Tahiti, Station Saint-Pierre-et-Miquelon, Radio Mauritania, Radio Saintlouis of Sénégal, Radio Dakar, Radio Garoua, Radio Douala, Station Yaoundé, Radio Lome, Radio Cotonou, Radio Sudan, Radio Abidjan, and Radio Conakry. Sylvie Dallet, “Un acteur méconnu de la décolonisation: Pierre Schaeffer et la SORAFOM,” in Michèle de Bussière, Cécile Méadel and Caroline Ulmann-Mauriat: Radios et télévision au temps des ‘évènements’ d’Algerie (1954–1962) (Paris: l’Harmattan, 1999), pp. 171–181.
- 53.
David Wigston, “The challenge of international radio broadcasting–what’s in it for Africa?,” Communications 20(1) (1994): 55–68.
- 54.
Guy Robert, “Le SORAFOM: un réseau rénové pour la France d’outre mer,” Cahiers Internationaux de radiodiffusion, 89 (2006): 109–119.
- 55.
Wigston, The challenge of international radio broadcasting.”
- 56.
Alsadair Pinkerton and Klaus Dodds, “Radio geopolitics: Broadcasting, listening and the struggle for acoustic spaces,” Progress in Human Geography 33(1) (2009): 10–27.
- 57.
Schaeffer, Pierre “An interview with Pierre Schaeffer - pioneer of Musique Concrète by Tim Hodgkinson,” ReR Quarterly Magazine, 2(1) (1987): 5.
- 58.
Émilie Da Lage-Py, “Les collections de disques de musiques du monde entre patrimonialisation et marchandisation,” Culture & musées, 1(1) (2003): 89–107; Ons Barnat, “Hybridité, authenticité et atteinte du succès international; réflexion sur les processus de commercialisation de disques de world music,” Revue musicale OICRM, 2 (2016): 137–158.
- 59.
Michael Denning, Noise Uprising: The Audiopolitics of a World Musical Revolution (London: Verso, 2015).
- 60.
Schaeffer, Pierre “An interview with Pierre Schaeffer,” p. 6.
- 61.
Thierry Perret, “L’Afrique à l’écoute. La France, l’Afrique et la radio mondiale,” Etudes Africaines, 50 (2010): 1032.
- 62.
Schaeffer, Les antennes de Jéricho, p. 254. Our translation.
- 63.
Challenor, Herschelle S., “Strangers and Colonial Intermediaries: The Dahomeyans in Francophone Africa,” William A. Shack and Elliot P. Skinner (eds) Strangers in African Societies (Berkeley: California University Press, 1979), p. 67.
- 64.
Pierre Boulez, Orientations: Collection Writings (Cambridge: Harvard University Press, 1990), p. 145.
- 65.
Edward Campbell, Boulez, Music, Philosophy (Cambridge: Cambridge University Press, 2010), p. 24.
- 66.
Pierre Boulez, Penser la musique aujourd’hui (Paris: Gallimard, 1963), p. 17.
- 67.
Georgina Born, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of Musical Avant-Garde (Berkeley: California University Press, 1995).
- 68.
An interesting indication about Boulez and Schaeffer ’s respective involvement in North Atlantic Cold War’s culture can be observed in the archives of Irving Kristol ’s Encounter magazine (1953–1990), secretly subsidized by the CIA, and the most emblematic Western intellectual weapon against the influence of communism among left-wing European intellectuals. While Schaeffer was never mentioned, Boulez’s name appeared in 17 issues from 1954 to 1984, and it was generally associated with discussions on musical elitism and popular music, being frequently portrayed as the iconic expression of European elitism. See http://www.unz.org/Pub/Encounter. See also Henry Pleasants, “Who’s Afraid of Pierre Boulez?,” Encounter, 17(2) (1969): 49–54.
- 69.
Catherine Brun, “Le Manifeste des 121: genèse et posterité,” L´Esprit Créateur, 54(4) (2014): 78–89.
- 70.
Campbell, Edward, “Pierre Boulez: Composer, Traveler, Correspondent,” Edward Campbell and Peter O’Hagan (eds), Pierre Boulez Studies (Cambridge: Cambridge University Press, 2016): 3–24.
- 71.
Campbell, “Pierre Boulez: Composer, Traveler, Correspondent,” p. 24.
- 72.
See BBC Radio 3 “Boulez and His Rumble in the Jungle,” retrieved at http://www.bbc.uk/programmes/b08c2n8v
- 73.
Jonathan Goodman, The Musical Language of Pierre Boulez: Writings and Compositions (Cambridge: Cambridge University Press, 2011), p. 9.
- 74.
Yves Defrance, “Exotisme et esthétique musicale en France: Approche socio-historique,” Cahiers de musiques traditionnelles, 7(1994): 191–210.
- 75.
Boulez, Orientations, p. 341.
- 76.
Rocco Di Pietro, Dialogues with Boulez (London: Scarecrow Press, 2001), p. 47.
- 77.
Di Pietro, Dialogues with Boulez, p. 49.
- 78.
Di Pietro, Dialogues with Boulez, p. 88.
- 79.
Tony Chafer, The End of Empire in French West Africa: France’s Successful Decolonization? (Oxford: Berg, 2002).
- 80.
Dallet, “Un acteur méconnu de la décolonisation...,” pp. 175–176.
- 81.
Rudolph, “The Material Culture of Diplomacy...,” pp. 211–212.
- 82.
Jason Dittmer, “Everyday Diplomacy: UK-USA Intelligence Cooperation and Geopolitical Assemblages,” Annals of the Association of American Geographers, 105(3) (2015): 617.
- 83.
Jason Dittmer, Diplomatic Material: Affect, Assemblage and Foreign Policy, pp. 5–6.
References
Agawu, Kofi. 2014. Representing African Music: Postcolonial Notes, Queries, Positions. New York: Routledge.
Barnat, Ons. 2016. Hybridité, authenticité et atteinte du succès international; réflexion sur les processus de commercialisation de disques de world music. Revue musicale OICRM 2: 137–158.
Born, Georgina. 1995. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of Musical Avant-Garde. Berkeley: California University Press.
Born, Georgina, and David Hesmondhalgh. 2000. Introduction. In Western Music and its Others: Difference, Representation, and Appropriation, ed. G. Born and D. Hesmondhalgh, 1–58. Berkeley: University of California Press.
Boulez, Pierre. 1963. Penser la musique aujourd’hui. Paris: Gallimard.
———. 1990. Orientations: Collection Writings. Cambridge: Harvard University Press.
Brun, Catherine. 2014. Le Manifeste des 121: genèse et posterité. L´Esprit Créateur 54 (4): 78–89.
Brunet, Sophie. 1969. Pierre Schaeffer. Paris: La Revue Musicale.
Campbell, Edward. 2010. Boulez, Music, Philosophy. Cambridge: Cambridge University Press.
———. 2016. Pierre Boulez: Composer, Traveller, Correspondent. In Pierre Boulez Studies, ed. Edward Campbell and Peter O’Hagan, 3–24. Cambridge: Cambridge University Press.
Chafer, Tony. 2002. The End of Empire in French West Africa: France’s Successful Decolonization? Oxford: Berg.
Challenor, Herschelle S. 1979. Strangers and Colonial Intermediaries: The Dahomeyans in Francophone Africa. In Strangers in African Societies, ed. William A. Shack and Elliot P. Skinner, 67–85. Berkeley: California University Press.
Cooper, Frederick. 2014. Citizenship between Empire and Nation: Remaking France and French Africa, 1945–1960. Princeton: Princeton University Press.
Da Lage-Py, Émilie. 2003. Les collections de disques de musiques du monde entre patrimonialisation et marchandisation. Culture & musées 1 (1): 89–107.
Dallet, Sylvie. 1995. Pierre Schaeffer: Itinéraires d’un chercheur. Paris: Centre d’Etudes et de Recherche Pierre Schaeffer.
———. 1999. Un acteur méconnu de la décolonisation: Pierre Schaeffer et la SORAFOM. In Radios et télévision au temps des ‘évènements’ d’Algerie (1954 –1962), ed. Michèle de Bussière, Cécile Méadel, and Caroline Ulmann-Mauriat. Paris: l’Harmattan.
Damone, Etienne. 2012. Vers un réseau outre-mer. In Pierre Schaeffer: Les constructions impatientes, ed. Martin Kaltenecker and Karine Le Bail, 164–176. Paris: CNRS.
Defrance, Yves. 1994. Exotisme et esthétique musicale en France: Approche socio-historique. Cahiers de musiques traditionnelles 7: 191–210.
Denning, Michael. 2015. Noise Uprising: The Audiopolitics of a World Musical Revolution. London: Verso.
Di Pietro, Rocco. 2001. Dialogues with Boulez. London: Scarecrow Press.
Dittmer, Jason. 2015. Everyday Diplomacy: UK-USA Intelligence Cooperation and Geopolitical Assemblages. Annals of the Association of American Geographers 105 (3): 604–619.
———. 2016. Theorizing a More-than-Human Diplomacy: Assembling the British Foreign Office, 1839–1874. The Hague Journal of Diplomacy 11 (1): 78–104.
———. 2017. Diplomatic Material: Affect, Assemblage and Foreign Policy. Durham: Duke University Press.
Dufourt, Hugues. 1999. Pierre Schaeffer: le son comme phénomène de civilization. In Ouïr, entendre, écouter, comprendre après Schaeffer, ed. Denis Dufour et al., 69–82. Paris: INA-GRM/Buchet/Chastel.
Fosler-Lussier, Danielle. 2015. Music in America´s Cold War Diplomacy. Oakland: University of California Press.
Fulcher, Jane. 2011. From ‘The Voice of the Maréchal’ to Musique Concrète: Pierre Schaeffer and the case for cultural history. In The Oxford Handbook of the New Cultural History of Music, ed. Jean Fulcher, 381–402. Oxford: Oxford University Press.
Gayou, Éveline. 2007. The GRM: landmarks on a historic route. Organised Sound 12 (03): 203–211.
Guillemin, Philippe. 1958. Les élus d’Afrique noire à l’Assemblée nationale sous la Quatrième République. Revue française de science politique 8 (4): 861–877.
Lander, Dan “Radiocasting: Musing on radio and Art,” eContact, 2(3) (1999), retrieved at http://cec.concordia.ca/econtact/
Latour, Bruno. 2002. When things strike back: A possible contribution of ‘science studies’ to social sciences. British Journal of Sociology 51 (1): 107–123.
Nattiez, Jean Jacques. 1987. Musicologie générale et sémiologie. Paris: Christian Bourgois Editeur.
———, ed. 1994. The Boulez-Cage Correspondence. Cambridge: Cambridge University Press.
Neumann, Iver B. 2013. Diplomatic Sites: A Critical Enquiry. London: Hurst & Co.
O’Hagan, Peter. 2016. Pierre Boulez and the Piano. Routledge: Abingdon.
Opondo, Samuel Okoth 2017. Diplomacy and Ethnology Between Empire and Nation. Comparative Studies of South Asia, Africa and the Middle East 37 (2): 391–399.
Palombini, Carlos. 1993a. Pierre Schaeffer: From Research into Noises to Experimental Music. Computer Music Journal 17 (3): 14–19.
———. 1993b. Pierre Schaeffer, 1953: Towards an Experimental Music. Music & Letters 17 (4): 542–557.
Perret, Thierry. 2010. L’Afrique à l’écoute. La France, l’Afrique et la radio mondiale. Etudes Africaines 50: 1003–1032.
Peyser, Joan. 1976. Boulez: Composer, Conductor, Enigma. London: Cassell.
Pinkerton, A., and K. Dodds. 2009. Radio geopolitics: Broadcasting, listening and the struggle for acoustic spaces. Progress in Human Geography 33 (1): 10–27.
Pleasants, Henry. 1969. Who’s Afraid of Pierre Boulez ? Encounter 17 (2): 49–54.
Ramel, Frédéric. 2014. Perpetual Peace and the Idea of Concert in Eighteenth-Century Thought. In Music and Diplomacy: From the early Modern Era to the Present, ed. D. Mahiet, M. Ferraguto, and R. Ahrendt, 125–146. New York: Palgrave Macmillan.
Robert, Martial. 2000. Pierre Schaeffer: d’Orphée à MacLuhan. Paris: L’Harmattan.
Robert, Guy. 2006. Le SORAFOM: un résau rénové pour la France d’outre mer. Cahiers d’histoire de la radiodiffusion (July–Sept): 109–119.
———. 2007. Le vent qui souffle dans la boîte: De la coopération radiophonique aux coulisses de RFI. Paris: L’Harmattan.
Rudolph, Harriet. 2013. The Material Culture of Diplomacy. The Impact of Objects on the Dynamics of Habsburg-Ottoman Negotiations at the Sublime Porte (1530–1650). In Politische Kommunikation zwischen Imperien. Der diplomatische Aktionsraum Südost- und Osteuropa, ed. Gunda Barth Scalmani, Harriet Rudolph, and Christian Steppan, 211–212. Innsbruck: Studien Verlag.
———. 2016. Entangled Objects and Hybrid Practices? Material Culture as a New Approach to the History of Diplomacy. In Material Culture in Modern Diplomacy from the 15th to the 20th Century, ed. Harriet Rudolph and G.M. Metzig, 1–28. Berlin: DeGruyter.
Rudolph, Harriet, and Gregor M. Metzig, eds. 2016. Material Culture in Modern Diplomacy from the 15th to the 20th Century. Berlin: DeGruyter.
Schaeffer, Pierre. 1966. Traité des objets musicaux. Paris: Le Seuil.
———. 1969. Le gardien du volcan. Paris: Le Seuil.
———. 1978. Les antennes de Jéricho. Paris: Stock.
———. 1987. An Interview with Pierre Schaeffer – Pioneer of Musique Concrète by Tim Hodgkinson. ReR Quarterly Magazine 2 (1). Available at www.timhodgkinson.co.uk/schaeffer.pdf
———. 1997. Musique concrète et communication humaine. L’Homme et la société 126: 115–132.
———, 2012 In Search of a Concrète Music (Berkeley: University of California Press, 2012) (Orig. French edition: Paris: le Seuil, 1952).
Scott-Smith, Giles. 2014. Introduction: Private Diplomacy, Making the Citizen Visible. New Global Studies 8 (1): 1–7.
Scott-Thomas, Giles, and Hans Krabbendam, eds. 2003. The Cultural Cold War in Western Europe 1945–1960. London: Frank Cass.
Silver, Daniel, Terry N. Clark, and C.J. Navarro Yanez. 2004. Scenes: Social Context in an Age of Contingency. Social Forces 88 (5): 2293–2324.
Stenberg-Sarel, Beno. 1961. La radio en Afrique noire d’expression française. Communications 1: 108–126.
Straw, Will. 2004. Cultural scenes. Loisir et societé/Society and Leisure 27 (2): 411–422.
Taylor, Timothy D. 2007. Beyond Exoticism: Western Music and the World. Durham: Duke University Press.
Veitl, Anne. 1997. Politiques de la Musique Contemporaine: Le compositeur, la ‘recherche musicale’ et l’État en France de 1958 à 1991. Paris: L’Harmattan.
Vieira de Carvalho, Mario. 1999. ‘New Music’ between search for identity and autopoiesis. Theory, Culture and Society 16 (4): 127–135.
Wigston, David. 1994. The challenge of international radio broadcasting–what’s in it for Africa? Communications 20 (1): 55–68.
Wille, Tobias. 2016. Diplomatic Cable. In Making Things International 2: Catalysts and Reactions, ed. Mark Salter, 166–178. Minneapolis: University of Minnesota Press.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Cornago, N. (2018). Schaeffer, Boulez, and the Everyday Diplomacies of French Decolonization. In: Ramel, F., Prévost-Thomas, C. (eds) International Relations, Music and Diplomacy . The Sciences Po Series in International Relations and Political Economy. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-63163-9_7
Download citation
DOI: https://doi.org/10.1007/978-3-319-63163-9_7
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-63162-2
Online ISBN: 978-3-319-63163-9
eBook Packages: Political Science and International StudiesPolitical Science and International Studies (R0)