By Peter J. Silvester
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Extra info for A Left Hand Like God: Study of Boogie-woogie
But the commission's work came to naught, for in 1893 the funds to implement its many recommendations were peremptorily denied. "36 D'INDY, ANTI-DREYFUSISM, AND THE SCHOLA D'Indy's bitterness toward the Republic escalated with the advent of the Dreyfus Affair, which, like the Revolution in Dresden for Wagner, led him to merge his hopes for political and artistic reform. Like other French aristocrats no longer actively involved in Republican politics, he now stepped forward to defend the "nation" and the army that he maintained protected it.
71 D' Indy thus here identified his specific musical goals with a larger nationalist perspective or position concerning the political history of France. "72 For d'Indy this meant imbuing students with a sense of "natural" evolution, which, in his conception, applied simultaneously and inextricably to both politics and art. "73 Implied here, undoubtedly, is the Protestant stress on the individual conscience as opposed to the instinctive adherence to tradition that French nationalists valued so highly.
Here the league's anti-Semitism went beyond the Affair itself, being linked to its philosophical analysis of the foundations of France's decline. As Barres articulated it, the Jews were inherently a "foreign" element, incapable of true assimila- THE NEW CULTURAL: "WAR" AND THE FRENCH MUSICAL WORLD 29 tion into French culture and, emblematically, French taste. 49 These same conceptions appear repeatedly in the Schola's discourse, for d'Indy made a connection between such traits and specific musical characteristics.