France has a rich and vibrant musical legacy. From court songs to revolutionary anthems, its composers Claude Debussy and Maurice Ravel created musical canvases that resonated across the world, giving French music its distinctive sound that resonated through history.
However, contrary to popular perception, France is an epicenter for musical innovation. Edith Piaf and classical music may be some of the country’s best-known acts but this country also serves as a hotbed of musical creativity and experimentation.
Baroque
Baroque style art became widespread across Europe in the seventeenth century, inspired by High Renaissance ideals of grandeur and elegance associated with Catholicism.
Musicians in this period attempted to recreate ancient melodies that were both simple and pure, while composers began shifting away from polyphonic composition towards more direct melodies with simple accompaniments.
French composers such as Jean-Baptiste Lully, Marc-Antoine Charpentier, Marin Marais and Jacques-Martin Hotteterre were masters of this art form. Their search for grace and elegance while depicting emotions realistically became emblematic of French musical culture. Ornamentation became important because France valued musical virtuosity highly at court, thus ornamentation served to showcase both skill and refinement as an artistic form.
Chanson
Starting out as French for’song”, chanson is an umbrella term encompassing multiple secular genres throughout French history. From polyphonic art songs of the Middle Ages and Renaissance known as chansonnier to 16th-century lily-pond verses accompanied by the lute and viola da gamba used for air de cour; through to popular songs from 17th and 19th-century popular culture such as bergerette brunette or chanson pour boire it has come to represent various aspects of French secular music culture throughout its long history.
At this time, national icons like Edith Piaf and Jacques Brel were first emerging, leaving an imprintful imprint on musical history with their emotional narratives and political commentary. Today, artists like Stromae and Christine and the Queens demonstrate how chanson can still blend well with contemporary genres.
Chanson can express both moral dilemmas and tragedies as well as moments of joy through its lyrics, such as Georges Brassens’ Supplique pour etre enterre a la plage de Sete which expresses his desire to be laid to rest on the Mediterranean beach where his shipwrecked.
Marais Breton
Marais Breton Vendeen (Breton Marsh) is an ecological zone located along the Atlantic coastline that attracts numerous migrating birds as well as providing natural habitats and musical styles ranging from sophisticated to folky.
Numerous excellent ethnomusicological studies on Breton marshes music have been published, such as an examination of the Barzaz Breiz collection. This voluminous book contextualises songs against their historical background while providing transcriptions.
Recent trends show the power of Breton traditional music to revive language and other markers of identity in younger generations. While language remains stigmatizing, music provides an easier means of expressing Breton culture, helping rediscover it more freely – an important factor in rediscovering a sense of Breton identity.
West of France
West of France traditions such as ballad singing and dance songs still thrive today, particularly in Poitou and Anjou provinces. Jerome Bujeaud’s two-volume collection of songs and music from this region remains the primary academic source.
Musette genre in Paris conjures images of cafe life: glasses being raised and laughter being shared between patrons while acting as an instrumental backdrop for community connections. Its narrative content and captivating melodies serve as a time capsule of France’s unique heritage.
Not unlike American musicians, French musicians tend to look back upon their past rather than looking forward. Not due to a lack of innovation but rather out of respect for a culture which prioritizes community over individualism.
Auvergne
Auvergne style music consists of a blend of folk songs from the region with light Parisian classical pieces from the 19th century, with jazz influences added by Gypsy musicians who picked up on Django Reinhardt’s American-influenced accompaniment style for unique accompaniments.
Joseph Canteloube, best known for his Songs of Auvergne collection and publication, lived here and renowned bagpipe players like Bernard Blanc and Jean Blanchard of La Bamboche are well known here as well as cabrette bagpipes in Auvergne and Limousin; their unique three-octave sound makes for some unforgettable music performances! These pipes specialize in slow airs (regrets) as well as 3/8 bourrees dance music that takes place within this region.
In the 19th century, however, accordion began making gains against cabrette’s market share and eventually overtook it entirely, eventually giving rise to what can be described as light Parisian music with a swing feel – known as musette.