J. Krivine: Juke Box Saturday Night (London, 1977)
B.C. Malone: Southern Mists: American Music (Lexington, KY, 1979)
V. Lynch: Jukebox: the Golden Age (Berkeley, 1981/R)
K. Terry: ‘Jukebox Biz is in a Fatal Decline’, Variety (2 Dec 1981)
V. Lynch: American Jukebox, 1939–1948: the Classic Years (San Francisco, 1990)
W. Bunch: Jukebox America (New York, 1994)
SAMUEL S. BRYLAWSKI
Panpipes of Bolivia. The term jula-jula refers to those of the altiplano and julu-julu to those of the Andes.
(d Paris, 1545). French publisher and partner of Attaingnant, Pierre.
Jullien, (Jean Lucien) Adolphe
(b Paris, 1 June 1845; d Chaintreauville, Seine-et-Marne, 30 Aug 1932). French critic and writer on music. His father, Marcel-Bernard Jullien (b Paris, 2 Feb 1798; d Paris, 15 Oct 1881) was editor of La revue de l’instruction publique and a writer on music; he collaborated with Emile Littré on the musical entries of his Dictionnaire de la langue française (1863–73). Adolphe Jullien was a pupil at the Lycée Charlemagne. He then studied law and took music lessons with Paul Henri Bienaimé, former teacher at the Paris Conservatoire. Graduating in law, he abandoned the bar and chose to write on music. His first article, published in Le ménestrel, was on Schumann’s Das Paradies und die Peri. He continued to write for Le ménestrel, and from 1869 collaborated on the Revue et gazette musicale de Paris, until it folded in 1880. From 1888 he wrote for Le Français and the Moniteur universel, and on the death of Ernest Reyer in 1893 he joined the Journal des débats as music critic, remaining there until 1928. From 1883 his fame was such that he became the subject of a monograph distributed in Paris and Brussels (Delhasse).
Naturally inquisitive, Jullien was attracted by creators of his period; he was a passionate admirer of Wagner and a defender of Berlioz, César Franck, Edouard Lalo, Emmanuel Chabrier and Debussy, but hostile towards Gounod and Saint-Saëns. A painting by Henri Fantin-Latour depicts him alongside fellow-Wagnerians Vincent d'Indy and Chabrier. Jullien attended all the Parisian concerts of Wagner's works, and also went to Bayreuth (in 1892, where his attendance was noted by Lavignac); he was the only French critic at the Concert Pasdeloup to recognize in the march from Götterdämmerung ‘an incomparable greatness and sadness’ (Le Français, Oct 1876). Jullien dedicated a work to Wagner in 1888, declaring in the preface: ‘For 20 years I have not stopped defending you’. Debussy appreciated Jullien's writings, particularly his work on Berlioz which he declared was ‘admirably documented’ (Gil Blas, 8 May 1903). Although Jullien was sometimes an uneasy critic of Debussy, both were followers of the same avant garde, united in their passionate admiration of Lalo's music, particularly his ballet Namouna.
Jullien was inspired by history, above all in the first years of his professional musical life, and he wrote many articles and historical essays on the musical life of the 18th century, using unedited archival materials. ‘Like others of his colleagues, he contributed to returning the Revue et gazette musicale to the path of serious historical study’ (Pougin). Some of these essays were published in his lifetime, collected in volumes. His erudition and his often criticized flowery style were the source of his success; his respect for creators and his appetite for the new meant that he was among the most avant-garde individuals of the musical life of his time.
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