![]() ![]() Nevertheless, Auric's willing support enriched the final film and Cocteau created a highly self-reflexive work through his arrangement of the composer's music with pre-existing musical borrowings. Indeed, Cocteau was comfortable with the selection and arrangement of sonic elements to the extent that his regular collaborator Georges Auric became almost dispensable. This argument is best exemplified by Le Testament d'Orphée (1960), which represents the apotheosis of Cocteau's artistic output as well as the stage at which he was most confident in handling the design of a film soundscape. This article argues that his film soundscapes occupy a unique position in the history of French film sound, providing a key link between contemporary experimentation in art music and the sonic experimentation of the New Wave filmmakers. Jean Cocteau (1889–1963) is recognized as one of France's most well-known film directors, directing six films over a thirty-year period. We ask what such developments bode for future relations between music, gender, and class in the UK. We set these findings into analytical dialogue with wider historical processes, offering divergent interpretations of our findings in relation to a series of musical, technological, educational, social, political, and cultural-institutional developments in the late twentieth and twenty-first centuries. In looking comparatively at the demographics of both traditional music and music technology degrees, we highlight a striking bifurcation: traditional music degrees draw students with higher social class profiles than the British national averages, while their gender profile matches the wider student population music technology degrees, by contrast, are overwhelmingly male and lower in terms of social class profile. Yet the social and cultural ramifications of this development have not yet been analysed. Such degrees have exploded in popularity over the past fifteen years. ![]() ![]() Music technology undergraduate degree programmes are a relatively new phenomenon in British higher education, situated at the intersection of music, digital technologies, and sound art. ![]()
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