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https://doi.org/10.1093/oso/9780197511510.003.0006
Copy DOIPublication Date: Feb 17, 2022 |
As the Paris Conservatory established a standardized music curriculum, its director, Bernard Sarrette, began to collect musical “masterpieces” by “great masters” for display in the institution’s new library and museum. This mission was part of a wider project to rewrite French history and constitute its future through art. At the same time, the French began to confiscate cultural property including music scores and instruments at first from émigré households and then from enemy territories, especially during Napoleon’s Italian campaigns. New committees like the Monuments Commission and Temporary Arts Commission, tasked with managing this redistribution of property, drew music into a system of material evaluation developed for the visual and plastic arts, thus affiliating music on the one hand with literary texts and on the other with works of fine art. The chapter consequently argues that in the process of acquiring property for the new institution, the Conservatory established a future-oriented object-centered discourse around musical works and developed lasting epistemic practices of professional musicianship.
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