{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2022,4,6]],"date-time":"2022-04-06T01:24:00Z","timestamp":1649208240161},"reference-count":65,"publisher":"Cambridge University Press (CUP)","issue":"2","license":[{"start":{"date-parts":[[2012,7,31]],"date-time":"2012-07-31T00:00:00Z","timestamp":1343692800000},"content-version":"unspecified","delay-in-days":334,"URL":"https:\/\/www.cambridge.org\/core\/terms"}],"content-domain":{"domain":["journals.cambridge.org"],"crossmark-restriction":true},"short-container-title":["Twentieth-Century Music"],"published-print":{"date-parts":[[2011,9]]},"abstract":"<jats:title>Abstract<\/jats:title><jats:p>In this article the highly contested relationship between art and politics in the twentieth century is discussed by way of the life and work of the Portuguese composer Fernando Lopes-Gra\u00e7a (1906\u201394). Lopes-Gra\u00e7a, who described himself as \u2018a communist from birth\u2019, lived for almost fifty years in Salazar's \u2018New State\u2019, a Fascist-type dictatorship, which emerged from a military putsch in 1926 and lasted until 1974. His experience as a communist under a right-wing r\u00e9gime was therefore very different from that of either communist composers living in Western democratic countries or those active in the Eastern bloc. Lopes-Gra\u00e7a stood apart from most other party intellectuals in his resistance to the doctrine of socialist realism. Yet from 1945 onwards he composed revolutionary songs in which his communist engagement is directly evident. Understanding this apparent tension within his output requires both a careful and nuanced understanding of his own personal position and a clear distinction between political engagement in music on the one hand and socialist realist or neo-realist tendencies on the other. It is that latter distinction \u2013 between (in the composer's own terms) \u2018lived action\u2019 and \u2018imagined action\u2019 \u2013 that accounts for the seemingly contradictory coexistence in Lopes-Gra\u00e7a's thinking of aesthetic autonomy and political commitment, and in his music of (to adopt categories posited by Heinrich Besseler) both \u2018presentational\u2019 music (for conventional concert settings) and \u2018colloquial\u2019 music (to be sung and played <jats:italic>ad libitum<\/jats:italic> in political meetings, at demonstrations, in the home, or even in political prisons).<\/jats:p>","DOI":"10.1017\/s1478572212000072","type":"journal-article","created":{"date-parts":[[2012,7,31]],"date-time":"2012-07-31T09:30:23Z","timestamp":1343727023000},"page":"175-202","update-policy":"http:\/\/dx.doi.org\/10.1017\/policypage","source":"Crossref","is-referenced-by-count":1,"title":["Between Political Engagement and Aesthetic Autonomy: Fernando Lopes-Gra\u00e7a's Dialectical Approach to Music and Politics"],"prefix":"10.1017","volume":"8","author":[{"given":"M\u00c1RIO","family":"VIEIRA DE CARVALHO","sequence":"first","affiliation":[]}],"member":"56","published-online":{"date-parts":[[2012,7,31]]},"reference":[{"key":"S1478572212000072_ref51","volume-title":"Le r\u00e9alisme socialiste: une esth\u00e9tique impossible","author":"Robin","year":"1986"},{"key":"S1478572212000072_ref25","volume-title":"The Court Society","author":"Elias","year":"1983"},{"key":"S1478572212000072_ref47","first-page":"45","volume-title":"La deshumanizaci\u00f3n del arte y otros ensayos de estetica","author":"Ortega y Gasset","year":"1999"},{"key":"S1478572212000072_ref34","volume-title":"Can\u00e7\u00f5es her\u00f3icas, dram\u00e1ticas, buc\u00f3licas e outras compostas em estilo singelo para recrea\u00e7\u00e3o da gente nova portuguesa","author":"Lopes-Gra\u00e7a","year":"1960"},{"key":"S1478572212000072_ref16","doi-asserted-by":"publisher","DOI":"10.1017\/S1478572212000011"},{"key":"S1478572212000072_ref1","volume-title":"Gesammelte Schriften, vol. 14: Dissonanzen; 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