France has seen its music evolve over the centuries, producing many genres that combine French cultural experiences with international musical styles from around the globe.
Early organum manuscripts date back to the 10th century in Chartres and in Paris during this period. Later, in the 12th century, Leonin and Perotin collaborated together on producing Magnus Liber organi.
Classical
Emergence of troubadours during the 13th century marked an incredible leap forward for song composition. One form known as motets emerged, in which upper register voices were added to discant sections in longer organum sequences for interludes that are usually strophic interludes.
Burgundian composers such as Guillaume Dufay and Gilles Binchois produced vernacular secular music in a relatively simple, melodic style, while Clement Janequin and Claude Ribouillault composed Parisian chansons which diverged from traditional formes fixes (like Josquin des Prez did).
Folk traditions remain prominent across most regions of France, particularly in isolated regions like Corsica and Auvergne. Musette became an extremely popular form of French popular music in Paris during the 19th century; dance music accompanied by accordion was particularly favored.
Opera
Lully created what would become known as tragedy en musique with Cadmus et Hermione in 1673; its creation served as the cornerstone of national operatic tradition for nearly 100 years.
Their version replaced Italians’ complex Baroque plots with a simpler five-act structure, featuring arias interspersed with short recitative. It appealed to popular tastes for beautiful visual spectacle and stunning melodies in France.
Notable works from this genre included both tragedy-lyriques and two other popular theatrical forms: ballet pantomime – an early form of grand ballet romantictique; and opera-ballets featuring simple comic plots featuring ordinary middle-class characters, with Andre Campra becoming famous during this era for works like L’Europe galante, Tancrede and Les Fetes venitiennes).
Folk
French folk music encompasses many traditions and instruments, with accordion, hurdy-gurdy, and bagpipes among the more widely used instruments in this genre. Each plays an integral role in defining its sound – which defines French folk music itself.
French folk music has always been a melting pot, drawing inspiration from multiple cultures over its long history and inspiring various styles. Today, French folk music remains an immensely popular form of entertainment both inside the country and internationally.
Franco-Americans use folk songs as a form of cultural promotion. One such festival in Madawaska, Maine that recognizes Franco-American heritage through folk music and dance celebration is the Acadian Festival in Madawaska.
Spectral
France has contributed much more than just vibrant folk dances from Gascony and Brittany; France also pioneered an innovation to modern music known as spectral music – pioneers include Gerard Grisey, Tristan Murail and Claude Vivier.
Spectral music is defined by its primary component being sound color (timbre). Timbre manipulation occurs using mathematical analysis known as Fast Fourier Transform to form an underlying musical structure which influences melodic, rhythmic and formal processes.
Ryan Beppel is creating a soundworld that is both familiar and intriguing through his “Voiando la Caja” (2012) performance with percussionists tapping instruments as though raindrops were falling at different speeds – creating an experience both familiar yet exotic.
Jazz
France and jazz have enjoyed an extensive relationship ever since its arrival there in 1917, often providing refuge to African American musicians while creating and nurturing its own traditions – especially under Nazi occupation during World War II.
Central France is known for its vibrant folk traditions, such as duple- and triple-meter bourree dances performed on bagpipes or the iconic hurdy gurdy, along with improvisational songs like Air de Cour.
Guitar has long been a beloved instrument in France, and gypsy jazz with guitarists like Django Reinhardt was immensely popular during the 1930s. This style of jazz relies heavily on “swing” rhythms which emphasize off-beats such as beats one and three within four-beat bars; these styles of jazz also rely heavily on swing beats to produce “swing.”