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Music and Letters 2002 83(4):590-606; doi:10.1093/ml/83.4.590
© 2002 by Oxford University Press
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Commitment or Abrogation? Avant-Garde Music and Jean-Paul Sartre's Idea of Committed Art

Mark Carroll

Jean-Paul Sartre's reluctance to include music within his idea of committed art prompted René Leibowitz in his monograph L'Artiste et sa conscience (1950) to argue that commitment to artistic innovation was no less valid than Sartre's ostensibly content-based commitment. Leibowitz argued that Schoenberg's A Survivor from Warsaw, Op. 46 (1947) was capable of sustaining a commitment to social and political reform. Given the circumstances in France at the time, it is argued that Pierre Boulez's high modernist archetype Structures Ia (1951–2) might also have fulfilled these requirements.


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