Journal articles: 'Music and the war'

1

O'Leary, Michael, and Christopher Logue. "War Music." Chicago Review 43, no. 4 (1997): 152. http://dx.doi.org/10.2307/25304226.

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Pradana, Ridhlo Gusti. "Representasi Kisah Perang Bubat Dalam Karya Ensambel Perkusi Oleh Kelompok Studi Perkusi (KESPER)." PROMUSIKA 11, no. 1 (April 11, 2023): 30–37. http://dx.doi.org/10.24821/promusika.v11i1.9220.

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Perang Bubat sebagai inspirasi karya ensambel perkusi merupakan aplikasi yang didapatkan dari menelaah informasi, kajian sejarah dan kisah perang bubat dalam setiap bagian yang direpresentasikan kedalam karya musik perkusi oleh KESPER dengan format ensambel modern. Metode yang digunakan adalah kualitatif dengan pendakatan deskriptif analisis, cara pengumpulan data melalui observasi dan wawancara dari masing-masing sumber yang terkait dengan penelitian ini. Musik perkusi dapat merepresentasikan sebuah suasana yang terjadi dalam kisah perang bubat, dengan memberikan ekspresi sebagai emosi dalam pengkaryaan ensambel perkusi itu sendiri. Rangkaian bagian dalam kisah perang bubat dibuat sedemikian rupa sehingga dapat mawakili isi dari kisah perang bubat itu sendiri. Musik perkusi bukan hanya dapat menciptakan musik yang keras tapi juga dapat memberikan kesan romantis terhadap penikmatnya.AbstractRepresentation of the Bubat War Story in Percussion Ensemble Works by the Percussion Study Group (KESPER). Bubat War as the inspiration for the percussion ensemble work is an application obtained from examining information, historical studies and the story of the Bubat War in each part, represented in percussion music by KESPER with a modern ensemble format. The method used is qualitative with a descriptive-analytical approach, collecting data such as observation and interviews from each source associated with this research. Percussion music can represent an atmosphere that occurs in the war story of Bubat by expressing emotion in the percussion ensemble itself. The series of parts in the war story is made to represent the contents of the report of the war story itself. Percussion music can not only create loud music but can also give a romantic impression to the audience.Keywords: Representation, Bubat War, Percussion Ensemble, KESPER

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3

Beal, Amy C. "Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956." Journal of the American Musicological Society 53, no. 1 (2000): 105–39. http://dx.doi.org/10.2307/831871.

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In the context of postwar and Cold War cultural politics, the Darmstädter Ferienkurse für Neue Musik set the stage for Germany's ambivalent reception of American music in the decades following World War II. This article weighs the catalytic role of American music in Darmstadt between 1946 and 1956; traces the relationships among U. S. cultural officers, German patrons, and representatives of American music in Darmstadt; and describes events in Darmstadt that led to a growing interest in American experimental music in West Germany. An English translation of Wolfgang Edward Rebner's 1954 Ferienkurse lecture "American Experimental Music" is included as an appendix.

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4

Hoffer, Brandi. "Sacred German Music in the Thirty Years’ War." Musical Offerings 3, no. 1 (2012): 1–11. http://dx.doi.org/10.15385/jmo.2012.3.1.1.

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Jenson, Jolie, Charles K. Wolfe, and James E. Akenson. "Country Music Goes to War." Journal of Southern History 72, no. 2 (May 1, 2006): 506. http://dx.doi.org/10.2307/27649129.

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6

Stefanija, Leon. "Music During the Great War in Slovenia." Musicological Annual 53, no. 2 (November 27, 2017): 103–18. http://dx.doi.org/10.4312/mz.53.2.103-118.

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The contribution is a survey of music as a social practice on the territory of today’s Slovenia during the Great War. It addresses the Slovenian music culture during the Great War from three complementary perspectives. Firstly, it gives a glimpse of the musical practice in Ljubljana, where, beside the entertaining music practice, subscription concerts were offered as well. The second section, the most elaborated one, focuses on the Slovenian music production connected to the Great War in two respects: on the music for (and about) it, as well as on the musical practice based on the events of the period that is considered, by many, to be odious. It offers a taste of the musical culture in Slovenia during the Great War and of the repertories of music pertaining to soldiery, concentrating on one in-depth analytical fragment of the song Tam na karpatskoj gori (Prošnja umirajočega junaka). Thirdly, the last section is devoted to the reception of the music connected to the Great War in Slovenia after 1918.

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Stefanija, Leon. "Music During the Great War in Slovenia." Musicological Annual 53, no. 2 (November 27, 2017): 133–48. http://dx.doi.org/10.4312/mz.53.2.133-148.

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The contribution is a survey of music as a social practice on the territory of today’s Slovenia during the Great War. It addresses the Slovenian music culture during the Great War from three complementary perspectives. Firstly, it gives a glimpse of the musical practice in Ljubljana, where, beside the entertaining music practice, subscription concerts were offered as well. The second section, the most elaborated one, focuses on the Slovenian music production connected to the Great War in two respects: on the music for (and about) it, as well as on the musical practice based on the events of the period that is considered, by many, to be odious. It offers a taste of the musical culture in Slovenia during the Great War and of the repertories of music pertaining to soldiery, concentrating on one in-depth analytical fragment of the song Tam na karpatskoj gori (Prošnja umirajočega junaka). Thirdly, the last section is devoted to the reception of the music connected to the Great War in Slovenia after 1918.

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8

O’Connell. "Music in War, Music for Peace: A Review Article." Ethnomusicology 55, no. 1 (2011): 112. http://dx.doi.org/10.5406/ethnomusicology.55.1.0112.

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9

Arnold, Ben. "Music, Meaning, and War: The Titles of War Compositions." International Review of the Aesthetics and Sociology of Music 22, no. 1 (June 1991): 19. http://dx.doi.org/10.2307/837033.

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Thomson, Andrew, Sergey Prokofiev, Anthony Phillips, and Boris Berman. "War Games." Musical Times 149, no. 1904 (October 1, 2008): 105. http://dx.doi.org/10.2307/25434560.

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Schmidl, Stefan. "Music of the Great War: Observations on a neglected repertoire." New Sound, no. 44-2 (2014): 121–32. http://dx.doi.org/10.5937/newso1444121s.

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Little is generally known today about the music of the First World War. On the assumption that music has to be considered as extraordinary among all the media 'distributing' it (i.e. shaping its perception in various ways), my paper concerns three categories of music written under the influence of the Great War and in response to it: with music representing sovereigns and nations (based on the example of the musical glorification of the Habsburgs in WWI), in relation to the vanguard style and its employment as a signifier of the war and finally, the Great War's ambiguous legacy in music.

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He, Yulin. "The Value and Character of Music as a Tool for Political Mobilization." SHS Web of Conferences 167 (2023): 01007. http://dx.doi.org/10.1051/shsconf/202316701007.

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Music itself has no practical meaning. However, music can be given political meaning by politicians to some extent. This paper will analyze the particularity and value of music in mobilizing political movements from the Iraq War and Vietnam War.

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Warnaby, John. "Dieter Schnebel and his ‘Sinfonie X’." Tempo, no. 186 (September 1993): 26–31. http://dx.doi.org/10.1017/s0040298200003077.

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The German composer Dieter Schnebel was born in March 1930, in Lahr, Baden. He began serious piano studies at the age of 10, and made his first attempts at composition around the end of the war, in his mid-teens. His principal music studies took place at the Musik Hochschule, Freiburg from 1949 to 1952; having encountered the music of Hindemith in 1949, he became aware of Bartók, Stravinsky and the Second Viennese School during the early 1950s, and studied at the Darmstadt Ferienkurse für Neue Musik, where he came into contact with Krenek, Varèse, Adorno, Henze, Nono and Boulez.

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Carroll, Christine. "‘Illiterate’ musicians: an historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms." British Journal of Music Education 36, no. 02 (July 2019): 155–71. http://dx.doi.org/10.1017/s0265051719000196.

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AbstractThis article examines curriculum and practice in Australian secondary classroom music education, in order to trace the inclusion of, and provision for, students with learning orientations based on popular music forms. A 60-year period of curriculum reform, matriculation statistics and literature is surveyed with a focus on the state of New South Wales (NSW), where the ‘non-literate’ student musician was first acknowledged in curriculum documents dating from the late 1970s at the senior secondary level (Music Syllabus Year 11 and 12: New 2 Unit A Course. Draft Document). Three overlapping eras frame discussion. The first discusses the original post–World War II school curriculum established for Western art music (WAM); the second discusses the period of curriculum reform beginning in the 1960s and 1970s, which leads to the inclusion of popular music at junior secondary levels; and the third is the present era from roughly 1980 onwards, where separate pathways of instruction are maintained for WAM and students with interests in popular and contemporary musics. Legitimation Code Theory (LCT) from the sociology of education is employed, with analysis unveiling a series of historic code shifts and clashes with implications for present practice. An unveiling of these codes explains the cause of ongoing tensions surrounding the inclusion of popular music and musicians in Australian music classrooms and provides foundation for much-needed curriculum development in the NSW context, and potentially elsewhere, where similar dynamics underpin practice in secondary classrooms.

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He, Yulin. "The role of John Williams’ music in Schindler’s List and Saving Private Ryan." SHS Web of Conferences 171 (2023): 03005. http://dx.doi.org/10.1051/shsconf/202317103005.

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It can be said that music is an essential part of a film, and a good commercial film has good music to render it to a large extent. There are three levels of music appreciation in film: analyzing the music itself, incorporating the music into the film world, and describing the audience experience. The Second World War is unprecedented in human history, and the film industry has made a variety of films to commemorate and reflect on this war, so that future generations will never have to repeat the mistakes. Spielberg’s Schindler’s List and Saving Private Ryan, for example, both presented the tragic history of the Second World War to audiences in documentary form. This article will critically analyze the role of music in these two films.

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Mora-Rioja, Arturo. "‘We Are the Dead’: The War Poets, metal music and chaos control." Metal Music Studies 7, no. 2 (June 1, 2021): 299–315. http://dx.doi.org/10.1386/mms_00050_1.

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During the course of the First World War, the generation of British authors known collectively as the War Poets revolutionized the popular culture of their time. Due to their changing attitudes towards armed conflict, their portrayal of war chaos included realist descriptions of life in the trenches, unusual choices of subject matter and an eventual challenge to the political and religious establishment of their time. Metal music, a genre with an inherent lyrical and musical concern about chaos and control, has crafted several songs inspired on the First World War poetry. This specific relationship has not been studied before. Based on Weinstein’s and Walser’s insights on chaos and control in metal music, the aim of this article is to evaluate the ability of metal music to either transmit or refute the War Poets’ discourse on chaos, and to study the textual and musical resources metal bands use to relay and control said discourse. For this purpose, I perform a comparative analysis of nine metal music adaptations and appropriations of six different First World War poems they are based on. A chronological path of the evolution of the First World War poetry is followed. The study concludes that, besides effectively transmitting or contesting the War Poets’ discourse on chaos, metal music exerts chaos control through its use of musical resources, especially in the case of extreme metal subgenres.

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17

Brody, Martin. "“Music For the Masses”: Milton Babbitt's Cold War Music Theory." Musical Quarterly 77, no. 2 (1993): 161–92. http://dx.doi.org/10.1093/mq/77.2.161.

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18

Brewer, Charles E., Paul Wells, Bruce Nemerov, and Charles K. Wolfe. "The Civil War Music Collector's Edition." Ethnomusicology 40, no. 2 (1996): 354. http://dx.doi.org/10.2307/852076.

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19

James, David. "The Vietnam War and American Music." Social Text, no. 23 (1989): 122. http://dx.doi.org/10.2307/466424.

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20

Schmelz, Peter J. "Introduction: Music in the Cold War." Journal of Musicology 26, no. 1 (January 1, 2009): 3–16. http://dx.doi.org/10.1525/jm.2009.26.1.3.

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21

Kauffman, Deborah. "Introduction: Music and the Great War." Journal of Musicological Research 33, no. 1-3 (March 13, 2014): 1–3. http://dx.doi.org/10.1080/01411896.2014.879691.

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22

Scherzinger, Martin Rudolph. "Music, Corporate Power, and Unending War." Cultural Critique 60, no. 1 (2005): 23–67. http://dx.doi.org/10.1353/cul.2005.0024.

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Browne, Ray B. "Music of the Civil War Era." Journal of American Culture 28, no. 2 (June 2005): 244. http://dx.doi.org/10.1111/j.1542-734x.2005.166_15.x.

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Bax, Pauline. "Dance To the Music of War." Index on Censorship 32, no. 2 (April 2003): 144–45. http://dx.doi.org/10.1080/03064220308537229.

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25

Dunnett, Roderic, and Tony Palmer. "Family at War." Musical Times 133, no. 1791 (May 1992): 248. http://dx.doi.org/10.2307/1193714.

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26

Smith, Richard Langham, and Tim Carter. "Love and War." Musical Times 133, no. 1796 (October 1992): 522. http://dx.doi.org/10.2307/1002718.

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27

Roseberry, Eric, Prokofiev, St Petersburg Kirov Opera and Orchestra, and Valery Gergiev. "War and Peace." Musical Times 134, no. 1806 (August 1993): 467. http://dx.doi.org/10.2307/1003038.

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Temple, Mary Kay. "War Inna Babbelogue." Musical Times 137, no. 1841 (July 1996): 5. http://dx.doi.org/10.2307/1003434.

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Malmvig, Helle. "Soundscapes of war: the audio-visual performance of war by Shi'a militias in Iraq and Syria." International Affairs 96, no. 3 (May 1, 2020): 649–66. http://dx.doi.org/10.1093/ia/iiaa057.

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Abstract This article sets out to bring sound and music to the field of visual studies in International Relations. It argues that IR largely has approached the visual field as if it was without sound; neglecting how audial landscapes frame and direct our interpretation of moving imagery. Sound and music contribute to making imagery intelligible to us, we ‘hear the pictures’ often without noticing. The audial can for instance articulate a visual absence, or blast visual signs, bring out certain emotional stages or subjects’ inner life. Audial frames steer us in distinct directions, they can mute the cries of the wounded in war, or amplify the sounds of joy of soldiers shooting in the air. To bring the audial and the visual analytically and empirically together, the article therefore proposes four key analytical themes: 1) the audial–visual frame, 2) point of view/point of audition, 3) modes of audio-visual synchronization and 4) aesthetics moods. These are applied to a study of ‘war music videos’ in Iraq and Syria made and circulated by Shi'a militias currently fighting there. Such war music videos, it is suggested, are not just artefacts of popular culture, but have become integral parts of how warfare is practiced today, and one that is shared by soldiers in the US and Europe. War music videos are performing war, just as they shape how war is known by spectators and participants alike.

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30

Bailey, Walter B. "“For the serious listeners who swear neither at nor by Schoenberg”." Journal of Musicology 32, no. 2 (2015): 279–322. http://dx.doi.org/10.1525/jm.2015.32.2.279.

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The rich array of publications covering music in New York City during the second two decades of the twentieth century provides a compelling account of the reception of ultra-modern music. Newspapers, arts periodicals, and, especially, monthly and weekly music magazines offer tantalizing insight into how music lovers perceived new and challenging music. Before the Great War connections to German musical traditions were strong, and ultra-modern music was mostly imported. During the war ties to Germany were largely severed and ultra-modern music was silenced. After 1918 a more egalitarian and international attitude emerged. The reception of Schoenberg’s music in New York City between 1910 and 1923 illustrates the evolution of this new attitude.

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31

Whittaker, Laryssa. "War Dance." Ethnomusicology Forum 19, no. 1 (June 2010): 126–28. http://dx.doi.org/10.1080/17411911003656035.

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Whatley, Katherine G. T. "Between Koenji and Brooklyn: Tokyo, New York, and the Circulations of Experimental Musics in a Global World." positions 32, no. 2 (May 1, 2024): 259–85. http://dx.doi.org/10.1215/10679847-11024306.

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Abstract Using a group of Japanese-born experimental musicians who make their lives in Tokyo and New York as a case study, this article examines how new musical genres are created, shared, and mediated through layers of circulations, identities, and locations. The author argues that these musicians’ lives and music have a kind of “noisy” quality, complicating genre boundaries and identity binaries in their wake. Through ethnographic “thick descriptions” and the words of the musicians themselves, the author shows the web of musical genres, languages, geopolitical identities, and gender relations that combine to make up the texture of musical performances. This article is also thinking through and with a sea change in the study of Japanese music. In recent years, building on the work of scholars of Japanese cultural studies, ethnomusicologists have critiqued how monocultural and mono-ethnic mythologies have influenced the study and production of Japanese music. Ethnomusicology and area studies are Cold War enterprises, designed to create research that would help maintain that world order, educate Americans as global leaders, and change hearts and minds in foreign lands, leading to a cultural conservatism that often led scholars to focus on “traditional” Japanese music. Recently, however, research on Japanese music has increasingly focused on popular and experimental musics and examines how Japanese contemporary identity is created and maintained through music. Thus this article gives readers a view of how US-based Japanese music scholarship is moving away from such Cold War paradigms and contributes to this shift in studies of Japanese music and culture.

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Vasic, Aleksandar. "Review of music: Forgotten musical magazine of inter-war Belgrade." Muzikologija, no. 19 (2015): 119–33. http://dx.doi.org/10.2298/muz1519119v.

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The monthly magazine Review of Music was published six times in Belgrade from January to June 1940. Each edition comprised thirty-two pages, half of which were devoted to a sheet-music supplement, popular compositions of the time for voice and piano. Review of Music published 222 articles and scores in total. The aim of the magazine was to popularise classical music, but it also encompassed jazz, films and film music, theatre, literature, fashion, and even sport. Review of Music was different from all other Serbian inter-war music magazines, not only because of its wide range of topics, but also because it published anonymous articles, probably taken from other sources, but it is not known from where. This study analyses the articles about classical music in Review of Music. In several short chapters the author presents the concept of the magazine, its genre structure, themes addressed, and the style of its music writers. Selected examples show that article authors tended to exploit elements of narrative (with an emphasis on impressive details), humour, and moral teaching. The authors also especially emphasized the neutral attitude of Review of Music towards contemporary music, although the magazine published different views of contemporary composers concerning the aesthetics of modern music. Review of Music started four months after Germany invaded Poland. However, in the journal references to social and political events are non-existant. The journal seems to have been interested only in culture and the arts. However, the author of this study presents examples in which the political circumstances of the time can be perceived. One of these examples is the visit of the Frankfurt Opera House to Belgrade in 1940. That extraordinary cultural event was attended by Prince Paul Karadjordjevic and Princess Olga, the Yugoslav Prime Minister, and almost all other government ministers. In this news, any authority on the political situation of the time could see that the Yugoslav government and the political elite took care of delicate relations with Germany at that time. This is the first study to analyse the concept and content of classical music in Review of Music. This magazine is certainly an interesting source, not only for the history of Serbian music periodicals, but also for cultural history.

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Vandsø, Annette. "War Sum Up." Peripeti 14, S6 (January 1, 2017): 51–52. http://dx.doi.org/10.7146/peri.v14is6.110666.

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War Sum Up (2011) is not a ’Gesamtkunstwerk’ in which the separate parts melt seamlessly together and point towards a single joint narrative. Instead the visuals, the choreography, the lyrics and text, the costumes, and the music each live their separate lives.

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35

KENNEDY, KATE. "‘A music of grief’: classical music and the First World War." International Affairs 90, no. 2 (March 2014): 379–95. http://dx.doi.org/10.1111/1468-2346.12115.

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Wilson, David. "Music, War and Education: the work of the Pavarotti Music Centre." European Journal of Intercultural studies 10, no. 3 (November 1999): 323–27. http://dx.doi.org/10.1080/0952391990100316.

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37

Rawlins, Robert. "American History through Music: Music of the World War II Era." Popular Music and Society 33, no. 1 (February 2010): 119–22. http://dx.doi.org/10.1080/03007760903233506.

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Drew, David. "I Sing of War..." Musical Times 136, no. 1828 (June 1995): 279. http://dx.doi.org/10.2307/1004097.

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Allenby, David, Anton von Webern, Erich Wolfgang, Korngold, Hindemith, Hartmann, Henze, Paul Hindemith, and Geoffrey Skelton. "Don't Mention the War?" Musical Times 137, no. 1845 (November 1996): 29. http://dx.doi.org/10.2307/1004308.

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Kolpakova, Yulia Andreevna, and Nina Petrovna Shutova. "Music Education in Krasnoyarsk as a Resource Factor for Building the Civic Solidarity: The Situation by the Outbreak of the War." Development of education, no. 3 (9) (September 24, 2020): 49–53. http://dx.doi.org/10.31483/r-86221.

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The purpose of the study is a comprehensive analytical review of various sources that reveal the role of music in Krasnoyarsk by the outbreak of the war. A hypothesis: interdependence of cultural and social events and their mutual influence during a period of increased social tension could be observed. Methods. During the study the following research methods were applied: cultural-historical, axiological, continuous sampling, descriptive methods and elements of statistical research. Materials published on the pages of the Krasnoyarsk periodicals for 1937–1941, as well as scientific works about music education and music culture by various outstanding scientists were used. Results. It was proved that music education by the outbreak of the war is considered a foundation for the realization of ideological and educational purposes. And it is also outlined that The Great Patriotic War set new challenges in the cultural life of the Krasnoyarsk Territory in general and Krasnoyarsk in particular. It is concluded that music education is considered a resource for the national solidarity building. Due to such a strong foundation, music education at the beginning of the war was able to fulfil an ideological function while concert musical activities were used as a tool for creating of civic identity.

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Hois, Eva. "Bernhard Paumgartner und Felix Petyrek: Zwei Mitarbeiter der Musikhistorischen Zentrale beim k. u. k. Kriegsministerium (1916–1918)." Studia Musicologica 49, no. 3-4 (September 1, 2008): 459–69. http://dx.doi.org/10.1556/smus.49.2008.3-4.11.

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A special chapter of research into the history of folk music in the time of the Austrian-Hungarian Monarchy was the Musikhistorische Zentrale (Music History Department) at the imperial royal Ministry of War. It was established during World War I, modelled on the Austrian Volksliedunternehmen (today Volksliedwerk). The Musikhistorische Zentrale wanted to collect all the soldiers’ songs, fanfares, military music, soldiers’ sayings, customs, jokes, letters and their expressions which are of historical and cultural significance. Bernhard Paumgartner (1887–1971), a musician and lawyer, had the idea of collecting this material. After the war, he became well known as the director of the Mozarteum in Salzburg, as conductor, music researcher and member of the Salzburger Festspiele. Under Paumgartner’s direction, notable individuals were involved in the compilation of Musikhistorische Zentrale. One of these men was the student of composition and musicology Felix Petyrek (1892–1951), who was dedicated to folk music all over his life as composer as well as researcher and music teacher. Other important collaborators for the Hungarian part on the collection were Zoltán Kodály and Béla Bartók.

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Stover, Chris. "MUSIC AS NOMAD RESEARCH." Atos de Pesquisa em Educação 14, no. 3 (December 18, 2019): 1044. http://dx.doi.org/10.7867/1809-0354.2019v14n3p1044-1068.

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This essay uses the Deleuzo-Guattarian concept of the war machine to develop a way of thinking about research-creation, following Erin Manning’s suggestion that the latter—as a hyphenated compound structure—can function as a knowledge-producing act on its own terms, as a ‘making as thinking’. After considering several examples of musical processes that exemplify this concept (as nomadic conjunctions with ‘State’ apparatuses that rearrange the latter as new knowledge-producing expressions), it engages two moments from Benjamin Boretz’s Language ,as a music as an example of an original expression of research-creation that operates between music and verbal discourse. It closes by considering how this shift in thinking can function as a potent form of radical pedagogy.KEY WORDS: Benjamin Boretz. Carolyn Shaw. Musical composition. Nomad. Research-creation. War machine.

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Moon, Krystyn R. ""There's no Yellow in the Red, White, and Blue": The Creation of Anti-Japanese Music during World War II." Pacific Historical Review 72, no. 3 (August 1, 2003): 333–52. http://dx.doi.org/10.1525/phr.2003.72.3.333.

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This article focuses on the production of anti-Japanese music during World War II through the frameworks of popular culture, consumption, and propaganda and by analyzing the music itself, as well as lyrics and sheet music covers. Anti-Japanese music codified certain racial beliefs while distinguishing among Asian nationalities. Portraying Japan in racialized and gendered terms told Americans something about themselves and white male superiority. These musical images also demonstrated the dialogue between the music industry and its consuming audience. Publishers and composers tried to describe the nation's emotions toward the enemy. Although their early efforts were somewhat successful, overall, anti-Japanese songs were not. Consumers looked to other musical forms and lyrics to embody the war, not necessarily voting against racism, but for more innovative music.

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Pattison, Kelley H. "Portrayal of Nurses in the Lyrics of the Music During World War I." International Journal of Studies in Nursing 6, no. 3 (July 8, 2021): 33. http://dx.doi.org/10.20849/ijsn.v6i3.924.

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Purpose: The study explores the description of nurses serving with the US Army and the American Red Cross during World War I as described in a collection of sheet music. The purpose was to identify themes within the lyrics which describe how the nurse was viewed at the time.Background: Analyzing the description of nurses who served during World War I allows the present-day reader insight into how they were perceived by the soldiers they cared for and the public. The contrast between the two types of songs; those written from the point of view of the soldiers and songs written from the point of view of the public, provides an insight into the depiction of the nurses.Method: Thematic analysis was used to review a collection of songs (N=29) for themes and examples of how nurses were described in the music lyrics of World War I music. Library of Congress music archives is the repository of the music reviewed.Findings and conclusions: The song lyrics from the soldiers' point of view describe these women as beautiful, selfless angels, and much like their mothers back home. The lyrics from the public's point of view describe the nurses as one who does her part for the war effort, one who doesn't get enough praise, and a woman of courage. Many songs ask God to save the nurse. Looking back 100 years later, it is interesting to see how the nurse was a revered member of the US war effort during World War I.

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Rasmussen, Ljerka Vidic, and Svanibor Pettan. "Music, Politics, and War: Views from Croatia." Yearbook for Traditional Music 31 (1999): 173. http://dx.doi.org/10.2307/768007.

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Harner, Devin. "Memory, Metatextuality and the Music of War." Revue LISA / LISA e-journal, Vol. X – n° 1 (March 13, 2012): 319–36. http://dx.doi.org/10.4000/lisa.5073.

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Brown, Greg. "War Music: An Account of Homer's Iliad." World Literature Today 90, no. 5 (2016): 92–93. http://dx.doi.org/10.1353/wlt.2016.0062.

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Lauŝević, Mirjana, Svanibor Pettan, and Mirjana Lausevic. "Music, Politics, and War: Views from Croatia." Ethnomusicology 47, no. 1 (2003): 130. http://dx.doi.org/10.2307/852518.

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Fedosenko, Karina. "Music industry of Ukraine during the war." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 23 (2022): 149–55. http://dx.doi.org/10.34079/2226-2849-2022-12-23-149-155.

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The music industry consists of a number of components - the production of new products, their circulation in the media and the implementation of concert activities. Usually the process of producing musical products went through such stages as writing compositions, creating arrangements for them, performing at concerts and finally recording songs in studios. Subsequently, there was a tour, which could increase the ability to effectively implement the already finished musical product. As a result of the military events taking place in Ukraine, the modern domestic music industry, in which various forms of musical production and performing activities were presented, is currently in a state of significant transformational changes. As a result of active hostilities on the Ukrainian territory, there was a need to find new formats of implementation, first of all, concert activities. The representatives of Ukrainian show business have developed new strategies for promoting their performance. Firstly, the practice of holding concert events abroad with the participation of Ukrainian performers has spread. Events combining offline and online performances have also been introduced. There has been a practice of using such locations as the subway for concert activities, which, due to its characteristics, has an increased level of security in the event of the threat of artillery fire and missile strikes. Spontaneous open-air concerts, organized for charitable purposes, have also spread. The release of musical products continues, but the content of the musical content has acquired a more patriotic-tinged character and taken high positions in the charts, ratings, etc. The author states that some compositions have acquired the meaning of peculiar symbols of the struggle of the Ukrainian people for their independence. Their numerous performance versions, in which Ukrainian and Western musicians took part, have acquired the status of "viral". This was facilitated by the creative collaborations of foreign performers with Ukrainian musicians. The goal of creative cooperation was to show support for the Ukrainian people, express it in musical form. Such actions are extremely important, and various musicians have demonstrated solidarity with the Ukrainians. All these factors have a fleeting effect on the increase of interest in the Ukrainian cultural product, support of the music industry. At the same time, they perform the role of psychological support. Key words: music industry, music product, concert, rating, war, Ukraine.

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Tukova, Iryna. "Art music and war : Ukrainian case 2022." Musicologica Brunensia, no. 2 (2023): 193–204. http://dx.doi.org/10.5817/mb2023-2-12.

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After the beginning of full-scale war Russia against Ukraine from 24 of February 2022, Ukrainian composers are reflecting the theme of a war in diverse ways. This article examines general underpinning concepts, guiding the composers of the present-day Ukraine, as well and their actual musical realizations, in order to 1) provide a basis for the understanding of the wartime functioning of the Ukrainian music culture; and 2) capture a specific brand of a creative response to a dramatic and oftentimes, tragic political situation. Specifically, attention in the article focuses on works Eyes to Eyes by Evgen Petrychenko and Lullaby for Mariupol by Illia Razumeiko, Roman Grygoriv and Opera Aperta ensemble, and investigate their structural, semantic and reception-related aspects.

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Journal articles on the topic 'Music and the war'

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