Musical Offerings ⦁ 2025 ⦁ Volume 16 ⦁ Number 1 37 the context of this tune had completely changed and was associated with the mob and their acts of violent outbursts.67 As the Revolution continued into 1792, France declared war on Austria. At this time France was in search of a more permanent battle hymn.68 There were not any relevant songs to take this position, however, and “Ça ira” remained as the theme of the Revolution. Mason explained that “Ça ira” was “described as the ‘song of patriotism’ that would animate the French ‘when it is time to fight the enemies of liberty.’”69 “Ça ira” was considered to be vulgar and unfit for “proper soldiers,” and therefore, a new tune entered the revolution in April of 1792.70 Claude Joseph Rouget de Lisle composed “Chant de guerre pour l’armée du Rhin,” which eventually became known as “La Marseillaise.”71 Rouget de Lisle was a monarchist officer who composed this song to “boost troop morale and accompany their march.”72 Likewise, “La Marseillaise” as used as a way to express the “comradeship of citizens in arms.”73 This song was unique in that it not only contained text expression but was also used in the military for the French to march to as the rhythmic framework aligned with both of the tempos that the French military marched to.74 The use of both rhythmic and melodic qualities within the structure of “La Marseillaise” can be seen in Figure 4. This song was written for the king’s soldiers; however, it was not an entirely monarchist song. Mason explained that “performed in a different context, it would acquire republican associations and interpretations.”75 “Chant de guerre” was used in the east as a war song to the “formal army” of the monarchy who refused to swear 67 Mason, 53. 68 Mason, 94. 69 Mason, 94. 70 Mason, 94. 71 Gray, n.p. 72 Gray, n.p. 73 Boyd, 9. 74 Gray, n.p. 75 Mason, 97.
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