38 Renner ⦁ Revolutions allegiance to the “new Republic.”76 Mason explained that “in the south, the song was adopted as the anthem of the fédérés of Montpellier and Marseilles, men who had been radicalized by their confrontations with hostile royalists and who were prepared to extend the Revolution to defend it.”77 By August of 1792, “Chant de guerre” was reported as the “fédérés hymn.”78 The versatility of this song was due to Rouget de Lisle not naming specific enemies in his lyrics. This vagueness allowed all sides to personalize the song without having to write new lyrics.79 “La Marseillaise,” popular among both civilians and soldiers, was “heard in moments of victory and defeat alike.”80 Figure 4: “La Marseillaise” by Rouget de Lisle.81 In addition to the military music that characterized the American and French Revolutions, there was a world of music away from the fighting, and this allowed those not involved in the fighting to be involved with the political ideas of the Revolutions. Around the time of the American Revolution, the Baroque Era of music was 76 Mason, 97. 77 Mason, 97. 78 Mason, 98. 79 Mason, 99. 80 Mason, 99. 81 Lisle, 2.
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