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1
Kochenderfer, Mary Anne. "Music after war : therapeutic music programmes in Bosnia and Herzegovina." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/1956.
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This thesis is a study of therapeutic music programmes in post-war Bosnia and Herzegovina. This study focuses on how different participant groups perceive programme aims and benefits and what these different perceptions reveal about the programmes as well as ways in which the local context impacts the programmes. Analysis is based on data gathered through interviews, observation, participant observation, and questionnaires obtained during five fieldwork visits undertaken between November 2003 and November 2004. While all participant groups agree that the programmes are beneficial, there are important differences in the ways different participant groups perceive programme benefits and the different ways in which the programmes approach sessions. Constructions of therapy appear to differ both between programmes and between international and local staff. All participant groups identified improved client communication and social skills as primary session outcomes. Clients appear to be largely unaware of the therapeutic aims of their sessions. Parents appear to have little influence and are not always notified that their children are involved with the programmes. International staff members appear to be intolerant of parents who do not heed their advice or reinforce progress made during sessions. In addition to running therapeutic sessions, these programmes work to increase inter-ethnic tolerance and to improve the skills of other local professionals. Programme success appears to be hindered by uncertainties inherent in working in a post-war environment. Developed and largely influenced by internationals, the programmes also face uncertainty as to whether they possess the necessary local leadership and ownership for long-term sustainability. There is evidence that tensions within, between, and outwith the programmes limit programme potential. Many of these tensions appear to be tied to local-international relations within programmes, which are exacerbated by national local-international tensions. A funding shortage has contributed to a competitive rather than a cooperative relationship between programmes. As the first detailed study of post-war therapeutic music programmes, this study has the potential to impact similar work in other regions and provides a more informed backdrop against which judgements can be made regarding the role and appropriateness of music as a form of therapy in post-war regions.
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Howell, Gillian. "A world away from war: Music interventions in war-affected settings." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/378101.
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This thesis examines what happens when the worlds and knowledges of war,
international development, and music education intersect. It investigates the practices
and experiences of music interventions, a term used in this thesis to describe
structured programs for music learning and participation in places that have been
unmade by war, taking shape within the structures and funding arrangements of largescale
international aid and assistance. It explores the work of three specific music
interventions—the Pavarotti Music Centre in Bosnia-Herzegovina, Hadahur Music
School in Timor-Leste, and the Afghanistan National Institute of Music in
Afghanistan—with the goal of identifying how these kinds of projects are shaped, and
their potential for sustainability in a volatile and mutable environment. These case
study sites offer interesting contrasts of timeframe (longevity of the music
intervention and retrospective distance from the wartime experiences); scale (of
ambition, funding, and external drivers); and approaches to the teaching and learning
of music, in particular their efforts to regenerate local music traditions.
The research was designed as an ethnographic, multi-sited, multi-case study project.
Semi-structured interviews and document review were the principal data sources,
offering diverse perspectives that bring both positive and critical voices of
participants and local community members to the fore, alongside those of organisers
and practitioners. Data were coded and analysed thematically, using grounded theory
methods.
As a result of this process, the thesis argues that the phenomenon of music
interventions can be understood as evolving across six critical junctures—sites of
negotiation between the various actors—that produce decisions and actions that
critically shape each project. The critical junctures—Aims and Motivations, Buildings
and Facilities, Pedagogy and Learning Materials, Organisational Culture, Internal
Engagement, and External Engagement—also have implications for sustainability, as
they represent points of active interface between contrasting constructs and ideals, and
therefore can generate instability and conflict as well as harmony and growth. The
critical junctures model offers practitioners and scholars a tool for understanding, planning, operationalising, evaluating, and handing over music interventions in waraffected
contexts. It sheds light on internal practices, and helps to reveal the influence
that the complex wider context can have on shaping and sustaining the music
activities.
The model of critical junctures for shaping and sustaining music interventions is the
central theoretical contribution of this research. In addition, the thesis makes
methodological, empirical, and practical contributions to what is a nascent subject of
inquiry, mapping three radically different music interventions in their achievements
and their missteps, and presenting empirical data from multiple perspectives. In a
world that is as much at war as ever, and an aid environment that is increasingly
recognising the importance of cultural development and creative expression to human
development, this study has deep and immediate relevance to an audience of music
and development practitioners, policy makers, and scholars in the fields of (applied) ethnomusicology, music education, community music, music sociology, music therapy, cultural development, and international development.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Park, Hye-jung. "From World War to Cold War: Music in US-Korea Relations, 1941-1960." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554818839582558.
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Dee, Constance R. "Music and propaganda : Soviet music and the BBC during the Second World War." Thesis, University of Manchester, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505332.
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During the Second World War, specifically after the Nazi invasion of the USSR on 22 June 1941, Britain was forced to rethink its stance on the Soviet Union. Aside from improving diplomatic relations, there was the question of how to present the Soviet Union to the British population. The Government feared that the British Left would promote Communism by capitalising on the public's new-found support for the Soviet Union, which was an understandable concern given that Communist Party membership in Britain rose from 12,000 in 1941 to 65,000 in September 1942. Steps were therefore taken by the British Government to outdo the Communist Party and its affiliates. To do this, it was decided that the endorsement of Anglo-Soviet relations might be less politically orientated and instead gravitate towards cultural achievements, allowing the issue of Communism to be sidelined. Broadcasting, having the ability to reach the majority of the population, was put to use as a way to influence and shape the thoughts of the public. This thesis presents a case study in Anglo-Soviet cultural propaganda, each chapter detailing a specific event or radio programme organised and broadcast by the BBC during the period of 1941-1945. More specifically the focus is on what Russian, and especially Soviet music, was used and for what purpose. The first chapter examines the arguments and internal correspondence surrounding the banning of the `Internationale', then the Soviet anthem, on the BBC. The following chapter demonstrates the complexities in Anglo-Soviet cultural relations by exploring a birthday concert organised by the BBC for Joseph Stalin in December 1941, at a time when the Soviet anthem was still banned. The two succeeding chapters chronicle the BBC's involvement in the celebrations of significant dates on the Soviet calendar, specifically Soviet National Day and Red Army Day. The chapter on Soviet National Day discusses the BBC's 1942 broadcast of Prokofiev's Alexander Nevsky Cantata and two movements from Shostakovich's `Leningrad' Symphony; however, the main focus is an examination of a three-hour broadcast on both the Home and Forces Services of Soviet-themed programmes for Soviet National Day 1943. The Red Army Day chapter discusses Britain's celebrations for the 25t" anniversary of the Red Army in February 1943, which showcased a variety of British and Soviet music in the form of pageantry, and the less elaborate celebrations for the 26th anniversary in 1944, which used only British music. This thesis will illustrate how the media, in particular the BBC Home Service, were used to further the Government's political agenda, while at the same time shaping British culture during the Second World War and paving the way for an enhanced appreciation of Soviet music in Britain in the years to come.
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Nott, James. "Popular music and the popular music industry in interwar Britain." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324242.
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Laux, Katie M. "Songs in the key of protest how music reflects the social turbulence in America from the late 1950s to the early 1970s /." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1184767254.
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Hennessy, Tom. "Beyond authenticism : new approaches to post war music culture." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/204/.
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The emergence of folk, jazz, blues, skiffle, rock n roll and R&B scenes in the post-war period of 1945 – 1964 was a major development in Anglophonic music culture. Key individuals operating within these scenes frequently pursued authenticity, or framed their musical activities as “authentic” – that is as cultural produce that was supposedly “true” to a certain way of life, or that offered something “real” in the face of the commercial culture of the mainstream. While this “authenticism” was productive in many respects it also represents a problem for the cultural historian. This thesis tackles this problem by first diagnosing the origins, nature and effects of authenticism, and then by undertaking three new historical studies through which a differently inflected history of this remarkable phase of popular music can be drawn. The first part of this thesis describes the emergence of authenticism in the 1940s and 50s as constituted by certain forms of language. I situate authenticism as a broad current within post war culture which fed upon the growing sense of dissatisfaction with the status-quo. I pay particular attention to its association with the New Left, a confluence whose legacy I argue should now be reappraised. The second part of the thesis proposes three alternative approaches to the subject: a data-based and textual analysis of chart pop, an analytical biography of Lonnie Donegan and a consideration of space and music culture focused upon London. These three case studies will provide a critical and evidence-led analysis that asserts the hybrid and de-centred nature of post war music culture and its place within the broader narratives of modernity. The aim is to create distance from the discourses of authenticism that still influence popular and academic understandings of this field.
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McWhirter, Christian. ""Liberty's great auxiliary" music and the American Civil War /." Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/2141.
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Weinberg, Ari Marie. "Songsters and Film Scores: Civil War Music and American Memory." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639562.
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This thesis consists of two separate essays both concerned with affect, memory, and music of the Civil War. The first examines the production, use, and purpose of a booklet called The Soldier’s Friend, with an emphasis on the mission of its producer, the United States Sanitary Commission and the needs of the readers of the booklet. In addition, I highlight the explicit connections that the organization made in this document between health and music by bringing cultural and psychological theories to the study of music. While many scholars have emphasized the ubiquity and importance of music during the War (and during the greater nineteenth century), a thorough discussion of the importance of songsters is mostly missing from the narrative. My paper ultimately provides an initial insight into the prominence of songsters in American culture by tying together methods from multiple disciplines. In my second essay, I argue that Max Steiner’s film score in Gone with the Wind aids Rhett Butler’s transition from a renegade man to a southern gentleman. His transformation carries with it messages and memories of the Lost Cause, most notably through Civil War melodies. Ultimately, I conclude that affect, music, and memory are intricately tied in the production of and actualization of southern, white, masculinity.
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Searcy, Anne Ashby. "Soviet and American Cold War Ballet Exchange, 1959–1962." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493533.
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The spring of 1959 marked the beginning of a hugely successful ballet exchange between the United States and the Soviet Union that lasted over three decades. In this dissertation, I examine the opening years of this exchange, when ballet suddenly became an important arena for political and aesthetic conflict between the world’s two superpowers. Ballet had a significant place in the cultural Cold War. Russians considered it a national art form, while Americans were proud of their young but innovative companies. Soviet and American ballet underwent surprisingly similar aesthetic shifts during the mid-twentieth-century, away from realistic narrative ballets and towards musically-focused ballets. Despite these similarities, critics and audiences often saw the touring works through their own domestic political and aesthetic lenses, interpreting them in very different light from their creators and creating a series of deep aesthetic misunderstandings. The exchange tours were enormously popular, and yet the curtain onstage could be just as iron as the one in the middle of Europe.
I employ a transnational perspective, drawing on a combination of Russian and American sources to investigate both the conciliatory and the alienating effects of the exchanges. Using reception theory as a model for understanding cultural diplomacy, I show how ballet played a substantive role in developing the Soviet-American relationship, though not always for the better. In the short term, the goodwill generated by the successful tours helped normalize relations between the Soviet and American governments at a time when nuclear conflict was a real threat. However, the cultural misunderstandings raised by the ballet tours also formed part of a pattern of miscommunication and circular internal discourse that contributed to the inability of the two superpowers to resolve or mediate their opposing world views. At the same time I argue that the very misunderstandings generated by Cold War exchange continue to inform American attitudes towards ballet. Reexamining the ballets performed during the tours through the defamiliarizing process of exchange can suggest new ways of interpreting 20th-century ballet aesthetics.Music
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Payne, Alyson. "Creating music of the Americas in the Cold War Alberto Ginastera and the Inter-American Music Festivals /." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1165436117.
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Morris, John Vincent. "Battle for music : music and British wartime propaganda 1935-1945." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3260.
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The use of classical music as a tool of propaganda in Britain during the War can be seen to have been an effective deployment both of the German masters and of a new spirit of England in the furtherance of British values and its point of view. Several distinctions were made between various forms of propaganda and institutions of government played complementary roles during the War. Propaganda took on various guises, including the need to boost morale on the Home Front in live performances. At the outset of the War, orchestras were under threat, with the experience of the London Philharmonic exemplifying the difficulties involved in maintaining a professional standard of performance. The activities of bodies such as the Council for the Encouragement of Music and the Arts played a role in encouraging music, as did the British Council’s Music Advisory Committee, which co-operated with the BBC and the government, activities including the commissioning of new music. The BBC’s policies towards music broadcasting were arrived at in reaction to public demand rather than from an ideological basis and were developed through the increasing monitoring of German broadcasts and a growing understanding of what was required for both home and overseas transmission. Beethoven’s Fifth Symphony became an important part of the Victory campaign and there was even an attempt at reviving the Handel Cult of the Nineteenth Century. German music was also used in feature film but pre-eminent composers such as William Walton and Ralph Vaughan Williams contributed to the War effort by writing film music too. The outstanding example is Vaughan Williams’ music for Powell and Pressburger’s Ministry of Information sponsored 49th Parallel, in which the relationship between music and politics is made in a reference to Thomas Mann’s The Magic Mountain. Vaughan Williams’ non-film output included the greatest British orchestral work to have come out of the War, his Fifth Symphony; a work that encapsulated all the values that the institutions of public life sought to promote.
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McGinnis, Kelsey Kramer. "“The purest pieces of home” : German POWs making German music in Iowa." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/2120.
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The internment of over 375,000 German prisoners of war has become a footnote in the broad history of the United States’ involvement in World War II. Yet for Algona, a small town in north-central Iowa, a POW camp allowed the community to contribute to the war effort and to have a real encounter with “the enemy.” The memory of Camp Algona, which housed over 10,000 German POWs during the war, has been preserved in the archive of the Camp Algona POW museum. Among the historical and military documents held in the archive is an extensive collection of material related to the activities of the camp’s choir, orchestra, and theater troupe. The archive holds extant concert programs, photographs, concert reviews from the camp newspaper, and the choir director’s scrapbook, which together document fifty-nine concerts given between October 1944 and December 1945.
Archival documentation suggests that music, especially German music, was a prominent feature of Camp Algona’s culture, distinct from other artistic and creative endeavors. This suggests a narrative that conflicts with existing assumptions in the most comprehensive histories of German POW camps in America (such as Arnold Krammer’s Nazi POWs in America and Judith Gansberg’s Stalag, U.S.A.), which generally categorize music-making as one of many popular recreational activities. One commonly accepted view is that music, like other leisurely activities, was evidence of the United States’ adherence to the Geneva Convention of 1929, which stipulated that captors must provide adequate time and means for recreation and “intellectual diversion.” Yet, first-hand accounts, newspaper reviews, and other archival documents from Camp Algona suggest that the music performed by the choir and orchestra had myriad layers of meaning and functionality for the POWs.
Camp Algona’s archive holds the largest known collection of music and music-related artifacts from a German POW camp in the U.S. Thus, assumptions or oversimplifications in existing literature are likely products of the lack of existing scholarship specifically related to music. The archival evidence from Camp Algona suggests that music-making by German POWs functioned as a facilitator of communal expressions of emotion, nationalism, and cultural pride. It also served as a cultural bridge between Iowans and POWs in the context of Christmas concerts and religious services involving civilians. Through critical exploration of this relatively new archive, it is possible to offer the first musicological perspective on the lives of German POWs in American during WWII, one that contributes to the existing historical literature and invites further scholarship and comparative study on music in POW camps in America.
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Kinsella, Timothy Patrick. "A world of hurt : art music and the American war in Vietnam /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11209.
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Studdert, Will. "Music goes to war : how Britain, Germany and the USA used jazz as propaganda in World War II." Thesis, University of Kent, 2014. https://kar.kent.ac.uk/44008/.
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The thesis will demonstrate that the various uses of jazz music as propaganda in World War II were determined by an evolving relationship between Axis and Allied policies and projects. The limited previous scholarship in the area, however, has been restricted to ‘single-country studies’ which present only national perspectives with little reference to the broader international context. Within a comparative framework, the thesis will trace and contextualise the international development of ‘propaganda jazz’, from early isolated broadcasts to consolidation in the form of regular programming and dedicated musical ensembles. A wide range of English- and German-language sources including Mass Observation, oral history, trade magazines and archive material from Britain, Germany, the USA and Canada will be utilised and cross-referenced to provide an unprecedented perspective on wartime uses of broadcast propaganda. Although a significant number of British and German documents relating to propaganda were destroyed during and after the war, the breadth of the research will allow reconstruction and analysis of various propaganda programmes from a multitude of standpoints. The thesis will also explore contemporary cultural, social and political considerations in Britain, Germany and the USA, thus not only increasing the scope and perspective of the discourse, but also reflecting the diversity of the interrelated factors which influenced wartime popular culture and propaganda. The thesis will make a number of significant contributions to the historiography of the field. Analyses of previously overlooked Allied and Axis propaganda projects will highlight the diversity of the methodologies regarding the use of music for propaganda purposes. Moreover, the international scope will facilitate an imperative reappraisal of British ‘black’ propaganda radio stations of Sefton Delmer and the Political Warfare Executive (PWE), which were hugely successful and yet have been unjustifiably neglected by prior historiography. The popularity and psychological adroitness of PWE’s broadcasts will be juxtaposed with the demonstrably inferior quality and effectiveness of German ‘black’ programming for Britain and the USA, which exposed considerable limitations to Joseph Goebbels’ abilities. The thesis will also explore Goebbels’ attempts to nurture an ‘indigenous’ New German Entertainment Music, and demonstrate that the Propaganda Minister’s inability to come to terms with jazz, both for German audiences and as a tool for propaganda broadcasts to the enemy, ceded an extremely important advantage to the Allies. A radical revision of the character and work of Hans Hinkel, an influential figure in the Nazi cultural apparatus who has nonetheless been the subject of very little scholarly attention, will also be provided. While a central component of the thesis is the assertion that Goebbels was far less pragmatic than has been acknowledged by prior historiography, Hinkel’s reputation as an ideologically rigid reactionary will be challenged by cross-referencing oral history sources and documentary evidence. Furthermore, the comparative framework will be used to show conclusively that the problems of appropriate musical programming for the Forces, which fell within Hinkel’s remit, were not restricted to Germany but were part of a broader international discourse regarding music’s role in the maintenance of morale. It will facilitate a wide-ranging exploration of the uses of music and broadcasting to manipulate Forces and civilian morale for both benevolent and malevolent purposes.
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Savage, R. W. H. "Structure and sorcery : The aesthetics of post-war serial composition and indeterminacy." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377937.
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Liao, Chiann-Yi. "Trilogy-Prokofiev's War Sonatas : a study of pianism diagnosis and performance practice /." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118237294.
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Payne, Alyson Marie. "Creating Music of the Americas in the Cold War: Alberto Ginastera and the Inter-American Music Festivals." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1165436117.
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Sacau-Ferreira, Enrique. "Performing a political shift : avant-garde music in Cold War Spain." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:df601c57-c9f0-4320-9a3a-8493ecf1101a.
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In my thesis, Performing a Political Shift: Avant-Garde Music in Cold War Spain, I argue that towards the end of the 1950s the Spanish ultra-conservative regime of Francisco Franco started to promote avant-garde music. This music contrasted with the aesthetically conservative one that had been promoted since the end of the Civil War (1936-1939). I examine the causes of this shift and reveal for the first time that they are connected to specific trends in Spanish politics and policies. In terms of national politics, the second phase of the Spanish dictatorship, from the late 1950s until Franco’s death in 1975, was dominated by young ministers who wanted to distance themselves from previous cabinets, mostly controlled by ultra-nationalist fascist politicians. These younger politicians styled themselves as part of a ‘technocratic’ regime. Thanks to its supposed ‘objectivity’ and ‘purely musical’ ideology-free concerns, avant-garde music sat well with these technocrats’ views of modern Spain, that is, a country benefitting from ‘objective’, ideology-free progress. On an international level, the defeat in the 1940s of Mussolini and Hitler, Franco’s main allies, had resulted in isolation for Spain. In order to break this isolation, the Spanish regime started to make a sustained effort at the end of the 1950s to establish diplomatic relations with other Western countries. These relations resulted in cultural, economic and military agreements with European democracies and the US. I also consider why recent Spanish musicology has failed to confront the political implications of the promotion of avant-garde music under Franco. I connect this void with the Spanish transition to democracy (1975-1978), which recent historians have called an exercise in amnesia, a discourse of forgiveness meant to promote reconciliation between Spaniards. As a result of this transition, the political implications of the activities of the composers and musicologists during the Franco years have been ignored or forgotten. The results of my thesis challenge the widely accepted view of the European avant-garde as a left-leaning movement. The main contribution of my thesis is precisely its substantial consideration of the cultural and political meanings of the avant garde and its context, using Franco’s Spain as a case in point.
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Rose, Stephen. "Music, print and authority in Leipzig during the Thirty Years' War." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404388.
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Ottersen, Torbjørn Skinnemoen. "Remembering through music : issues in musical commemoration since World War II." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709119.
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Coyle, Alexandra. "Jazz in Japan: Changing Culture Through Music." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104170.
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Thesis advisor: Franziska SeraphimThis thesis primarily focuses on jazz in Japan and the role it played in the American occupation after World war II. The trajectory jazz took in Japan changed a multitude of times: in the 1920s it was immensely popular with the rise of consumerism and internationalism, and was emblematic of the carefree attitude of that time period. After Pearl Harbor occurred, enemy music, clearly being American jazz, was formally forbidden in Japan but periodically still played for the entertainment of the troops. Thus jazz went from being incredibly popular to practically banned. As the occupation took place, jazz yet again was popular but became more associated with connotations of homogeneity and representative of America. The Japanese reacted in various and differing ways, which I demonstrate in this thesis by examining the work of Japanese director Kurosawa Akira and the widely popular Japanese singer Kasagi Shizuko. Therefore, jazz was not only a form of entertainment but a tool of manipulation by many throughout the 1920s, 1930s, and, most importantly, the American occupation in Japan
Thesis (BA) — Boston College, 2015
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: History
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Lawson, Katheryn Christine. "Little soldiers and orphans: musical childhoods lived and constructed in World War I." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2559.
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Broadly speaking, my thesis will investigate children's music in the World War I era (1914-1918). The aim of my thesis is to answer, at least partially, the questions of how children experienced WWI musically, and how adults approached children in music media during the war years. My research will focus on war-related materials produced for children by adults and ways that children may possibly have responded to the war through music. After an introduction, chapter two first discusses constructions of children by adults found in children's song collections as well as other print materials, such as child-rearing manuals. Secondly, this chapter looks into the ways that children were exposed to war culture, via militaristic children's songs, war-themed fiction, and children's magazines. Chapter three investigates constructions of children and child-rearing in popular Tin Pan Alley songs, namely those of soldier boys and prayerful girls, as well as propagandistic depictions of pacifist and militarist mothers. Finally, chapter four looks into war contrafacta published in the monthly magazine of the Girl Scouts of the USA, The Rally, contextualizing these findings in propaganda posters that targeted children, as well as war work by both the Boy Scouts and Girl Scouts. Through these case studies, I hope to construct a picture of how children from infancy to early adulthood were constructed and depicted in popular culture, how they were approached by adults, and how children were used as part of the nation's narrative.
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Cooke, Mary Lee. "Southern women, southern voices Civil War songs by southern women /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1477CookeML/umi-uncg-1477.pdf.
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Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Nancy Walker; submitted to the School of Music. Includes bibliographical references (p. 160-176).
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Gray, Anne-Marie. "Vocal music of the Anglo-Boer War (1899-1902) insights into processes of affect and meaning in music /." Thesis, Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-10062004-131944/.
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Miller, Henry. "Stars, stripes, cameras and decadence music videos of the Iraq War era." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/476.
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Recently, academic researchers have brought critical attention to representations of the Iraq War in popular culture. Most of this work, however, focuses on film and music, leaving the influential medium of music video largely unexplored. A number of artists produced music videos that capture the zeitgeists of competing movements leading up to and following the United States' involvement in the Iraq invasion. This project, "Stars, Stripes, Cameras and Decadence: Music Videos of the Iraq War," seeks to survey music videos in order to understand how music video helps shape Americans' relationship to heavily polarized public discourses in the United States regarding this controversial military act. The thesis will take a multi-dimensional approach to analyzing each music video. The study will incorporate data on public opinion, audience reaction and political shifts in relationship to each video. On the most elementary level, the thesis will address the "anti" and "pro" war stances portrayed by music videos to understand both how they were shaped by their relationship to power and how they consequently shape their audience's relationship to power. The study will also undertake to understand these music videos aesthetically. Both "anti" and "pro" music videos draw upon schools of political messaging that largely dictate the art of the music video. Each school portrays soldiers, violence, war, enemies, families and loved ones in different ways. The thesis will delve into the histories of how various political traditions use images of war to shape their messages and how music videos continue (or break from) these traditions.B.A.
Bachelors
Arts and Humanities
English
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Deaville, James. "Selling War: Television News Music and the Shaping of American Public Opinion." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72045.
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Tatar, Jeremy Piotr. "Occupied Memory: Polish Composers and German Music after the Second World War." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17912.
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The occupation of Poland by Germany and the Soviet Union during the Second World War had profoundly negative impacts on Polish cultural life. Although conflict ostensibly ended in 1945, the ensuing four decades of communist rule proved just as devastating. Until now, much of the discourse on Poland has concentrated on the effects and legacy of Communism, while consideration of the ‘German question’ has largely been neglected. Using the composers Witold Lutosławski (1913–1994) and Henryk Górecki (1933–2010) as case studies, this thesis focuses on the web of musical interactions between Germany and Poland in the decades following WWII, tracing how these composers came to terms with the music of their occupiers. The investigation is driven by questions intersecting with issues of memory, aesthetics, and national identity: what were Lutosławski and Górecki’s attitudes toward pre-war German music? Did they have similar responses to post-war German music? How were they able to face these problems against the backdrop of Soviet hegemony? Above all, the fundamental debate over music’s ineffable, abstract qualities persists: to what extent is music (and art in general) able to transcend messy cultural concerns, and remain untainted by political events? In asking these questions, I probe the complex artistic landscape of mid-century Eastern Europe, along with music’s specific role in this process of negotiation. Both composers responded quite differently to Poland’s cultural landscape after 1945. Lutosławski retreated into abstraction and sought refuge in realms of music deemed absolute, while Górecki, on the other hand, moved in the opposite direction toward a musical style grounded in the here-and-now, and tethered umbilically to concerns of the everyday. Also telling are the similarities between them: a shared love of Bach and Viennese Classicism, a more equivocal relationship with Schoenberg and his followers, and an underlying, deeply wrought humanism.
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Heiser, Marshall Stuart. "The Playful Frame of Mind: An Exploration of its Influence upon Creative Flow in a Post-War Popular Music-Making Context." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366950.
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The aim of this thesis is to explore how adopting a playful approach to contemporary popular music making influences creative flow within that context. In order to achieve this aim three component factors derived from the intersection of the scholarly humour, creativity, and play literature––frame of mind, flow, and playfulness (PF)––have informed a single unifying theme I call the “playful frame of mind.”
Contemporary popular music makers live in an era where an over-abundance of affordable technological aids (along with the distribution capabilities of the internet) have created a glut of creative possibilities, and along with it an ever-present risk of cognitive dissonance caused by their “noise.” Such technology brings creative options to all and sundry once reserved for a few rock star elite signed to multinational record companies. It is now possible for every part of the popular music-making process to be performed, or enhanced, within a software context. Nonetheless, popular musicians today still operate according to paradigms largely informed by epoch-changing, post-War recording artists such as Elvis Presley, Bob Dylan, The Beatles, and The Beach Boys. The technology used for doing so may have progressed, but the basic rules (and roles) of the game have remained the same.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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McBrayer, Benjamin M. "Mapping Mystery| Brelet, Jankelevitch, and Phenomenologies of Music in Post-World War II France." Thesis, University of Pittsburgh, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10692472.
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Crooker, Matthew R. "Cool Notes in an Invisible War: The Use of Radio and Music in the Cold War from 1953 to 1968." Wright State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=wright1559565327720453.
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Olson, Ted. "Recording Review of Spain in My Heart: Songs of the Spanish Civil War." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1145.
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Williams, Evan Michael. "Prelude in Tempore Belli." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363527260.
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Laux, Katie. "SONGS IN THE KEY OF PROTEST: HOW MUSIC REFLECTS THE SOCIAL TURBULENCE IN AMERICA FROM THE LATE 1950S TO THE EARLY 1970S." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1184767254.
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Bandy, Katherine A. "The National World War II Museum - Entertainment Department." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/187.
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This report contains the details of internship completed at the National WWII Museum in New Orleans, Louisiana. It will discuss the structure and practices of the Museum’s Entertainment Department through a 480 hour internship. Alongside Victoria Reed, the Director of Entertainment, I assumed the role of Entertainment Production Assistant in June of 2015. I completed this internship with the purpose of earning an Arts Administration degree at the University of New Orleans. The Entertainment Department at the National WWII Museum is but a fraction of what makes this organization a successful attraction in the city of New Orleans and the country. The Museum is a rapidly growing institution and there is much potential to expand past traditional museum exhibits with its Entertainment Department. This report will concentrate on the internship roles and responsibilities, strengths, weaknesses, opportunities, and threats of this specific department. It will also address best practices and recommendations specific to the Entertainment Department.
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Wellens, Ian Hugh. ""Even the truth needs a Barnum" : Nicolas Nabokov, music and the Cold War." Thesis, University of Plymouth, 1999. http://hdl.handle.net/10026.1/2403.
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This thesis examines composer Nicolas Nabokov’s political involvement in the world of music in the 1940s and 1950s. In particular it concerns his attempt to use contemporary art music as a means of countering the influence of the Soviet Union, via the festivals he organised for the CIA-financed Congress for Cultural Freedom (CCF). To the best of my knowledge both Nabokov and the musical activities of the CCF have previously been ignored by musical scholarship: this thesis therefore makes an important contribution to our understanding of the relationship between music and politics in the cold war period. My text divides into two halves: chapters 1 to 4 are broadly chronological, whilst chapters 5 to 8 analyse and evaluate Nabokov's project from various perspectives. The first chapter considers some aspects of his life in the 1940s which are relevant, in various ways, to the later career. Chapters 2 and 3 examine Nabokov's writings on music and politics, which began to appear in 1943, and fell largely within the following decade. The taking up of his CCF post in 1950 represented an opportunity to replace polemic with action, and Chapter 4 is concerned with the Paris festival of 1952 - L 'Oeuvre du XXeme Siecle - Nabokov's rationale for it, and the reactions it provoked. Chapter 5 looks at the CCF as part of an attempt to amend the widespread impression that the USA was ' lacking in culture', whilst chapter 6 examines the split Nabokov's policy produced between the CCF in Paris and its New York-based American affiliate. Finally, chapters 7 and 8 seek to consider whether there might be broader connections between this anti-communist project and the growing concerns of many intellectuals for the health - and even the survival - of high culture in general and art music in particular.
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Parham, Blake. "The Invisible Man: Roman Palester and his Place in Post-war Polish Music." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23000.
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Roman Palester (1907 –1989) was as one of the most promising and well-known composers in Poland during the inter-war period. Yet, following the creation of the Polska Rzeczpospolita Ludowa [Polish People’s Republic] (PRL) between 1945-52, the tightening of political control over art in 1949, and Palester’s defection to the West in 1951 he has all but disappeared from Polish musical life. This study seeks to address Palester’s absence from the musical scene by exploring how Palester, as a composer in exile, negotiated the politics of the Cold War in both Eastern and Western Europe, and what effect this had on his life, career, and music. This will be achieved by tracking Palester’s life from his early years as a student in Warsaw, through the Second World War, the instigation of a communist regime in Poland, his defection to France and later Germany, his work at Radio Free Europe (RFE), and his brief reintroduction to Poland in the 1980s. Palester’s evolving compositional voice will also be examined: exploring his use of neoclassicism, his brief foray into folklorism, the development of his own form of twelve-tone technique, experimentation with ‘limited aleatorism’, expressionist tendencies, and attempts to synthesise these various techniques into a singular compositional voice. This will be achieved by critically discussing a select number of Palester’s pivotal musical works: Psalm V, Requiem, Symphony No. 3, Preludes for Piano, La Mort de Don Juan, and Symphony No. 5. The findings of this study show that the unique political environment of the Cold War and Palester’s exile had a profound impact on his career and reception but suggest that his musical style was shaped primarily by his own artistic principles.
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Carr-Wilcoxson, Amanda Marie. "Protest Music of the Vietnam War: Description and Classification of Various Protest Songs." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1686.
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The Vietnam War and subsequent protest movement remains one of the most tumultuous times in U.S. history. This thesis is an attempt to define and describe the protest movement as well as the varied popular protest songs that came from this era. Building on a previous study written by Elizabeth Kizer, this thesis creates sub-categories in which the protest music falls into.
The first two chapters of this study help by giving historical context to the songs by describing the Vietnam War and then the protest movement in the U.S. The final chapter then deals with popular protest songs that appeared on the Billboard charts between 1960 and 1969.
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Herendeen, David Warren. "Lanes of Severn: Ivor Gurney, as illustrated by his war songs, 1915-1918." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186264.
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Ivor Gurney was born in Gloucester on August 28, 1890; he died on December 26, 1937, age 47, in a London asylum. Though he had a relatively short life, he lived during a most dynamic time in British history; he was a part of the rebirth of British song and the trauma of World War One. These events, by dint of his experiences, are given a unique voicing through his songs, for Gurney was in no way a normal composer. He was an unbalanced genius whose turbulent life and endearing personality touched many of the central figures of British music in this period. His 300 songs and song sketches fall into roughly four periods of composition and parallel this dramatic life from schooling, to war, to mental breakdown. This study examines his considerable song output through the investigation of his second and most intense period of composition: 1915-1918, the war years. Although the war period is nowhere near his most prolific, the songs composed during war's chaos provide a good departure point for ordered investigation; they are a microcosm and in many ways his best and most innovative work. Six songs from this period are investigated: 'By a Bierside', 'The Fiddler of Dooney', 'In Flanders', 'The Folly of Being Comforted', 'The Scribe', and 'Severn Meadows'. These songs, written "in the trenches" strongly reflect Gurney's stylistic tendencies, define his compositional importance and personal values. The analysis for each song will begin with the circumstance in which it was composed. Gurney's choice of text, approach to declamation, harmonic language, use of the piano, and aesthetic intent will then be related to his environment, as this significantly influenced his song composition. Since he was an avid writer and also considered one of Britain's best war poets, Gurney's war correspondence and poetry will be used to support and clarify these analytical and aesthetic observations.
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Pope, Edgar W. "Songs of the empire : continental Asia in Japanese wartime popular music /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11322.
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Birkinshaw, Alison Jane. "The working environment of the composer in post-war Britain, with special reference to the present day." Thesis, University of Hull, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321059.
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Lewis, Joseph M. Jr. "The Development of Civil War Brass Band Instruments into Modern-Day Brass Band Instruments with a Related Teaching Unit For a High School General Music Course." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431035985.
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Luzha, Besa. "Music education in post-war Kosovo : generalist and specialist teachers' identities, beliefs and practices." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/10021766/.
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This study explores Kosovan teachers’ identities, beliefs, self-reported practices and perceived needs, concerning the interface of music, society and education. It does this at a time when the newly independent country is emerging from war and establishing an education system, of which music forms an important part. The discussion takes a social constructivist viewpoint, whereby music learning and teaching are understood in relation to the historical, political and cultural contexts of the society in which they occur. The focus of the investigation is on the current practical and theoretical situation faced by music education in Kosovo. This is approached through the voices of music teachers, all of whom belong to the Albanian-majority ethnic group in Kosovo (92%), which was subject to political oppression and acculturation under the former Serb regime until the Kosovan war ended in 1999. Using an ‘explanatory mixed methods design’ (Creswell, 2003, p. 15) a questionnaire survey was conducted with 204 teachers falling into two main, very different, groups – generalists and specialists – across all regions of Kosovo. The survey was followed up with semi-structured interviews of 16 individuals, selected as representative of each of the two main groups. The study investigated issues within and across each group, concerning: i) the teachers’ musical identities in relation to Kosovan history, culture and Albanian ethnicity; ii) their beliefs about the role of music and music education in Kosovan society; iii) their self-reported music teaching practices and iv) their perceived needs and opportunities for professional development. Similarities and differences between the two groups were found to be of potential importance in the future development of music education. In addition, the findings reveal serious challenges faced by Kosovan music teachers, who find themselves trapped between traditional musical values, styles and practices on one hand, and modern, Western music ideologies present in the newly developing music curriculum. Finally, the thesis offers some concrete recommendations to the relevant institutions in Kosovo, aimed at furthering and supporting the development of the new music curriculum.
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Moir, Anna. "Prejudice and patriotism Frederick Stock, anti-Germanism, and American music in World War I /." Diss., Connect to the thesis, 2009. http://hdl.handle.net/10066/3598.
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Howell, Mark Hunter. "A War of Words: Satire and Song in the Pre-Revolutionary Virginia Gazettes." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626155.
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Croskery, Virginia. "The Bel canto war : a critical and annotated translation of Vincenzo Manfredini's Regole armoniche, Part III (1797) with relevant essay." Diss., University of Iowa, 2005. https://ir.uiowa.edu/etd/5066.
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Beeny, Martyn. "Music worth fighting for : the role of American popular music in the United States and the United Kingdom during World War II." Thesis, University of Kent, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544076.
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Griggs, Nicholas E. "War & peace - a themed choral concert: a comprehensive examination of the process of preparation and performance." Kansas State University, 2013. http://hdl.handle.net/2097/16208.
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Master of MusicSchool of Music, Theatre, and Dance
Julie Yu
This document examines five choral octavos for a themed choral concert. The McPherson High School Concert Choir will present a themed choral concert, “War and Peace”, which includes these five octavos, on October 14, 2013 at 7:30pm. The selections reflect the program theme and include historical and theoretical analysis. Along with the analysis, this document also contains rehearsal plans and examines common practices of selecting and preparing literature for a themed choral concert. The choral octavos examined are: The Sword of Bunker Hill arranged by Matthew Armstrong, Lift Up Your Heads arranged by Hal H. Hopson, Down By The Riverside arranged by Rosephanye Powell, Tell My Father arranged by Andrea Ramsey, and Joshua Fit The Battle of Jericho arranged by Mark Hayes.
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Bohlman, Andrea Florence. "Activism and Music in Poland, 1978-1989." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10516.
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This dissertation presents a historical study of intersections between music and activism in Poland from the election of Cardinal Karol Wojtyła as Pope John Paul II in 1978 to Poland’s first democratic elections in 1989. Musical action in three cultural spheres shapes the project: (1) the political activism of musicians, (2) activists who turn to music as a political instrument, and (3) the musical ambitions of the communist authorities, the Polish United Workers’ Party. I critique the repercussions of politics in music as well as music’s significance for policy makers and dissidents, and I assume that neither course of influence is intrinsic or inevitable under state socialism. In doing so, I highlight the complex relationship between activist culture and music at the end of the Cold War. Throughout the decade, religious hymns, patriotic anthems, experimental music, and popular songs shared spaces in Polish society, projected analogous ambitions, reflected communal responses, and partook in debates about culture’s capacity to effect political action. The plurality of musical genres and music histories during the Cold War reflects the political tensions in the Polish opposition to state socialism. The diverse materials I investigate in this dissertation respond both to the tumultuous politics of the 1980s and to the ethnographic, historical, and analytical methods I employ to write music history. My thesis—that political activism offered politicians, activists, and musicians the opportunity for constructive creative action—provides a model for rethinking Cold War music history. I begin with an explanation of the Communist Party’s program for music and the practical means by which it carried out this vision through the decade. Two chapters examine specific historical moments: I critique the ways in which music has come to be associated with the August 1980 strikes that brought about the formation of Solidarity, the first independent trade union in the Eastern bloc, and map the sites of music making in the weeks after martial law’s imposition in December 1981. I explore the resonance of popular sacred hymns and plainchant for musicologists, composers, and members of the opposition through the final decade of the Cold War. The dissertation concludes by analyzing the unofficial musical discourse on independence, drawing out the concept’s resonance for artists invested in their own musical autonomy.Music
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Launchbury, Claire Louise. "Music in transmission constructing French cultural memory at the BBC during the second world war." Thesis, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536890.
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