Academic literature on the topic 'National songs Patriotic music Nationalism in music'
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Journal articles on the topic "National songs Patriotic music Nationalism in music"
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Dahal, Bishnu Prasad. "Nepalese Nation, Nationalism and Identities in Patriotic Songs." International Journal of Learning and Development 10, no. 4 (December 31, 2020): 77. http://dx.doi.org/10.5296/ijld.v10i4.18135.
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The main purpose of this study is to investigate the different aspects of Nepalese patriotic songs. Here, lyrics of patriotic songs are reviewed and their contents are analyzed. This study is focused on how these patriotic songs assist to promote Nepalese nationalism, national beauties, national identities and national unity. It is the representative expression of all national songs and patriotic songs all over the country. Music in the form of the national songs and patriotic songs were and remain essential components of national identity and national unity. These songs are popular and accepted by Nepalese citizens as a part of their national identity and such affinities are supported by the songs’ repeated broadcast and consumption on Radio Nepal, various other Radios, Nepal Television, private television channels and social media platforms. It is found form the research that patriotic music provides a means for social cohesion, not via the propagation of dogmatic patriotic content, but through the personal and intimate associations that such songs solicit from individual citizens.
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Abdelmoez, Joel W. "Performing (for) Populist Politics." Middle East Journal of Culture and Communication 13, no. 3 (November 27, 2020): 300–321. http://dx.doi.org/10.1163/18739865-01303007.
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Abstract In July 2013, after months of protest, Egypt’s first democratically elected president, Mohammed Morsi, was ousted by the Egyptian armed forces. The Muslim Brotherhood, who supported Morsi, took to the streets, chanting and singing against the ousting, which they termed a military coup, while supporters of Sisi, who viewed it as a revolution, began producing songs to show their allegiance to the military leadership. While abundant research has been conducted on the role of oppositional and revolutionary music in Egypt since 2011, relatively little has been done on the widely popular pro-military music sometimes known as watani music. Watani songs are a genre of patriotic music made by popular artists to show their allegiance to the Egyptian armed forces. In this paper I examine the surge of watani songs and trace their history back to the Nasser era, thereby showing a continuity in style as well as content. I further argue that there are connections between nationalism and gender constructions, as the national project comes with obligations for men to offer their bodies to the cause. This obligation is aided by constructions about ‘male bravery’ and ‘courage’ that are designed to make men believe that military service is somehow essential to masculinity. Watani music, whether commissioned or not, fits well with this mythology of military men. It forms an ideological undercurrent, supports the narrative that it is necessary for patriotic military men to bravely safeguard the nation against its enemies.
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Hopwood, Paul. "Polite Patriotism: The Edwardian Gentleman in English Music, 1904 to 1914." Nineteenth-Century Music Review 16, no. 3 (December 4, 2018): 383–416. http://dx.doi.org/10.1017/s147940981800006x.
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In Edwardian England many of the most widely acknowledged qualities of the national character coalesced around the figure of the English gentleman. One of his defining features was his emotional restraint, his ‘stiff upper-lip’. But these were also years during which patriotic and even nationalist sentiment rose to a high tide, and there was considerable tension between the whole-hearted expression of nationalism and the restrain demanded by gentlemanly manners. This article explores this tension as it was staged and negotiated in the folk-song rhapsodies and nature portraits by Vaughan Williams, Holst, Delius and others during the years from 1904 to 1914. As a methodological basis the article adopts the notion of musical subjectivity – that is, the idea that music can offer a virtual persona with which the listener is invited to identify, and as whom he or she may participate in the musical activity. In this context it is possible to identify aspects of musical rhetoric, namely, the manners which regulate the interaction between the virtual subjectivity and the listener. Ultimately the article suggests that it is the embodiment of gentlemanly manners, every bit as much as the use of folk-song or the representation of English landscape, that accounts for the particularly English quality commonly identified in this music.
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Ziv, Naomi. "Reactions to “patriotic” and “protest” songs in individuals differing in political orientation." Psychology of Music 46, no. 3 (June 30, 2017): 392–410. http://dx.doi.org/10.1177/0305735617713119.
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Music is commonly used in political contexts, to strengthen attitudes and group cohesion. The reported research examined reactions to music representing national values or contesting them in individuals with different political orientations, on issues related to national pride, cohesion and free expression. In Study 1, 100 Israeli participants heard three “patriotic” or “protest” songs and rated their agreement with statements regarding them. Beyond a number of main effects of music and of political orientation, several interactions between these two variables were found. For right-wing participants, patriotic music increased pride whereas protest music increased shame and fear of social disintegration. For left-wing participants, protest music led to higher agreement with the right to free expression. Study 2 included 78 participants and repeated the procedure with parallel texts. Main effects of texts were found, but no main effects of political orientation or interactions were found. Results are discussed in terms of the role and impact of music in political settings.
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Ho, Wai-Chung, and Wing-Wah Law. "Music education and cultural and national values." International Journal of Comparative Education and Development 22, no. 3 (July 7, 2020): 219–32. http://dx.doi.org/10.1108/ijced-10-2019-0053.
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PurposeThe purpose of this paper is to examine music teachers' perceptions of teaching cultural and national values (also defined as national cultural values) to explore the tensions facing school music education in the choice of music types to be delivered in Hong Kong and Taiwan.Design/methodology/approachWith specific regard to music teachers' perceptions of “values,” “music cultures” and “nationalism,” data were drawn from a survey questionnaire given to 343 music teachers (155 preservice and 188 in-service music teachers) and semistructured interviews with 36 of these respondents.FindingsThe findings of the study showed that though many respondents in Hong Kong and Taiwan felt comfortable teaching traditional Chinese music, they did not want to teach contemporary Mainland Chinese music and other political or patriotic forms in the school music curriculum. The data also demonstrated some shortcomings in introducing a balance of music types into the curriculum, as well as limitations in promoting national education in response to the respective sociopolitical situations in Hong Kong and Taiwan.Research limitations/implicationsThis study was subject to limitations regarding the potential generalizability of the findings on school music teachers' perceptions in Hong Kong and Taiwan.Practical implicationsThe implications for teachers and student teachers regarding the development of cultural and national values related to the political processes in Hong Kong and Taiwan are complicated, because of not only their relationship with Mainland China and its education based on nationalism but also the extent of teachers' professional training to help create an enabling environment for national and cultural development.Originality/valueThe findings of this study revealed that there are fundamental gaps in the overt and operational curricula in Hong Kong and Taiwan concerning the sociopolitical function of values in school music education in response to their respective sociopolitical situations.
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Crawford, Richard. "Edward MacDowell: Musical Nationalism and an American Tone Poet." Journal of the American Musicological Society 49, no. 3 (1996): 528–60. http://dx.doi.org/10.2307/831771.
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After American-born, European-trained Edward MacDowell returned to the United States in 1888 and settled in Boston, he was welcomed as the composer American music had been awaiting. Enhanced by a professorship at Columbia University (1896-1904), his fame drew him into the current debate over musical nationalism. MacDowell relished the role of American composer, using national elements to approach artistic universality. "To a Wild Rose" for piano links post-Wagnerian tonality with programmatic suggestion in a style echoed by later popular songs. And "Dirge" from the Indian Suite evokes Native American experience to ground America's independent spirit in an idealized primeval past.
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Kuzmina, Svetlana V. "Formation of patriotism among the younger generation in the modern school environment." Izvestiya of Saratov University. New Series. Series: Philosophy. Psychology. Pedagogy 21, no. 2 (June 24, 2021): 212–16. http://dx.doi.org/10.18500/1819-7671-2021-21-2-212-216.
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The article is devoted to the problem of returning patriotic education to the modern school system. The purpose of the research is to study the features of patriotism formation as an unshakable value in the upbringing of the younger generation. A comparative analysis of the concepts of «patriotism», «citizenship», «nationalism», «internationalism» has shown that historically the education of patriotism in children and youth intersects with the formation of citizenship, national identity, and the organization of friendly interethnic relations. The scientific novelty of the work consists in the interdisciplinary retrospective consideration of the issue involving the ideas of education of citizenship and patriotism of the individual in the team discussed by Soviet teachers A. S. Makarenko, V. A. Sukhomlinsky. The importance of collective forms of patriotic education in the school environment (conversations about citizenship, socially useful work, collective performance of folk music) is emphasized. As a result, it is determined that patriotism is reflected in the concepts of «citizenship» and «internationalism». In contrast to nationalism, patriotism does not idealize the nation, but is evaluated through the prism of «critical» conscience. The efficiency of formation of patriotism among the younger generation is determined by the initiative of the school teaching staff, including the ability of music teachers to fill the lesson of art with spiritual material of nature and a variety of multicultural music world, to organize friendly inter-ethnic relations among students during extracurricular activities.
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Cherkasov, Volodymyr. "MUSICAL EDUCATION OF STUDENTS IN SCHOOLS OF THE REPUBLIC OF IRELAND." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 40–46. http://dx.doi.org/10.36550/2415-7988-2021-1-195-40-46.
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The article examines and summarizes the experience of music education of students in schools of the Republic of Ireland, highlights the main trends and approaches to the content of lessons and extracurricular activities with students of different ages, aesthetic education through music and the formation of European and national values. Vocal and vocal-instrumental ensembles are created. Participation in such groups requires knowledge of musical notation, mastering the technique of reading notes, mastering the skills and abilities to use the means of musical expression. In addition to rock music, one of the most popular vocal genres in Ireland is shan-nose - highly ornamented improvisational singing (ie singing with a large number of chants), where there are several parts of voices, from which the overall composition is built. Over time, Irish folk music changed. Most of the songs are of rural origin and are associated with ancient Irish language traditions. More modern songs are performed in both Irish and English. Involvement of student youth in the performance of various genres of choral and vocal music promotes patriotic education and the formation of moral and aesthetic qualities that positively affect the worldview of young people, contribute to the involvement of world cultural values. Involvement of student youth in the performance of various genres of choral and vocal music promotes patriotic education and the formation of moral and aesthetic qualities that positively affect the worldview of young people, contribute to the involvement of world cultural values. A prominent place in the organization of musical and creative activities is given to independent work. To this end, teachers develop guidelines, conduct practical classes, which focus on methods and techniques of mastering the skills of playing a particular musical instrument. Using the methods of showing, explaining, demonstrating, illustrating, repeating individual musical episodes and overcoming performance techniques, students develop technical skills, memory, logical thinking, practice performance skills and gain experience in interpreting the content of a piece of music. It should be noted that musical education of students in schools of the Republic of Ireland has a stable approach and is based on the folk traditions of previous generations, meets modern requirements for the formation of musical culture of youth, aesthetic feelings and development of intellectual and creative abilities.
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Hung, Chang-Tai. "The Politics of Songs: Myths and Symbols in the Chinese Communist War Music, 1937–1949." Modern Asian Studies 30, no. 4 (October 1996): 901–29. http://dx.doi.org/10.1017/s0026749x00016838.
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Nie Er (1912–1935), a young Communist musician from Yunnan, could not possibly have imagined that when he wrote this patriotic song (with lyrics by the left-wing writer Tian Han [1898–1968]) for the 1935 filmChildren of Troubled Times (Fengyun ernü) it would soon become one of the most popular tunes in China. The overwhelming success of the song reflected a nation, long frustrated by imperialist (especially Japanese) aggression, thwarted reforms, domestic armed conflicts, and government ineptitude, venting its anger and crying out for a solution. When the Japanese invaded China two years later, ‘The March of the Volunteers’ was rapidly transformed into the quintessential song of resistance against Japan, sung at schools, in the army, at rallies, and on the streets. The song was influential in capturing the hearts and minds of millions during China's eight-year War of Resistance against Japan (1937–1945); its impact, in the words of one contemporary song critic, was ‘similar to that of the “Marseillaise” [in the French Revolution]’. When the Chinese Communist Party (CCP) seized power in it adopted the song as the official national anthem.
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Hambridge, Katherine. "Staging Singing in the Theater of War (Berlin, 1805)." Journal of the American Musicological Society 68, no. 1 (2015): 39–98. http://dx.doi.org/10.1525/jams.2015.68.1.39.
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Almost fifty years after the original event, Willibald Alexis’s historical novel Ruhe ist die erste Bürgerpflicht (1852) commemorated a musical performance that had taken place on October 16, 1805, at Berlin’s Nationaltheater. According to both Alexis’s reimagining and contemporary reports, after the closing “Reiterlied” of Schiller’s Wallensteins Lager a new war song was sung by audience and actors. The sensation this caused—in a city awaiting its troops’ departure for war against Napoleon—established Schiller’s play as a privileged site for political singing in Berlin and across German lands for the next decade. In this article, I account for this first occasion, its unusual press reception, and its influence by contextualizing it within a growing early nineteenth-century discourse on public communal singing, arguing that Berliners were self-consciously enacting French patriotic behaviors. As well as indicating longer-term continuities, I distinguish the political role attributed to war songs in this period from the more familiar Bildung-orientated discourse on choral singing and folk song. In contrast to established accounts that locate the emergence of popular political song in the volunteer movements of the Wars of Liberation and the national politics of the Burschenschaften and male-voice choirs, I suggest that these early performances show the official imposition of public political singing—as a kind of “defensive modernization”—in response to the Napoleonic threat. I thus revise our understanding of the establishment of singing as a modern political tool in German lands, and of the role of singing in the development of political agency and national sentiment more broadly.
Dissertations / Theses on the topic "National songs Patriotic music Nationalism in music"
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Karlsson, Henrik. ""O, ädle svensk!" : biskop Thomas' frihetssång i musik och politik /." Stockholm : Kungl. musikaliska akademien i samarbete med Musikvetenskapliga institutionen vid Göteborgs universitet, 1988. http://catalogue.bnf.fr/ark:/12148/cb36986615j.
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Owen, Ceri. "Vaughan Williams, song, and the idea of 'Englishness'." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:117f2c64-3b63-43aa-9dd3-15a7ce2f9339.
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It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.
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"(Re) construction and (re) definition of national identity in the postcolonial era: the changing musical and visual presentation of patriotic indoctrination in Hong Kong media after the handover in 1997." 2009. http://library.cuhk.edu.hk/record=b5896593.
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Chan, Mun Tak Ada.Thesis (M.Phil.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 65-69).
In English with some Chinese characters; abstract also in Chinese.
Abstract --- p.i
Abstract (Chinese) --- p.iii
Acknowledgements --- p.iv
Table of Contents --- p.V
List of Figures and Tables --- p.vii
Chapter Chapter One --- Introduction --- p.1
Geographical Location and Political Status of Hong Kong --- p.3
Personal Reflection on the Change of HKSAR´ةs Sovereignty --- p.8
Chapter Chapter Two --- Propaganda on Television: Music Video in Hong Kong Mass Media --- p.10
Defining Post-colonialism --- p.10
A Brief History of Hong Kong --- p.12
National Affiliation of the Hong Kong Citizens in the Pre- and Post-Handover Era --- p.14
Chapter Chapter Three --- The Changing Audiovisual Presentation of the PRC National Anthem Video Clips in Post-colonial Hong Kong --- p.23
Chinese Musical Nationalism in Post-colonial Hong Kong --- p.23
“Vocabulary´ح and Its Post-colonial Interpretation --- p.24
“Structure´ح and Its Post-colonial Interpretation --- p.25
Conceptualization of the Nation by Displaying the PRC flag and the Hong Kong SAR flag --- p.26
Conceptualizing the Ideas of Ethnicity --- p.30
Image of People´ةs Liberation Army in Constructing the Concept of the Nation --- p.32
Interrelationship between the Musical Interpretation and the People featured --- p.34
Vocabulary in Constructing the Concepts of the Chinese Nation --- p.41
Conclusion --- p.44
Chapter Chapter Four --- Conclusion --- p.48
Post-Colonial Influences Upon the Cultural Identity of Hong Kong Citizens --- p.48
Reinforcing Political Affiliation to the PRC using the National Anthem after the 1997 Handover --- p.49
Our Home Our Country featuring the PRC National Anthem as a Political Tool --- p.50
The Historical Significance of Our Home Our Country --- p.52
Appendix I Basic Information of the National Anthem Video Clip Our Home Our Country --- p.54
Appendix II Musical Aspects of the National Anthem Video Clips Our Home Our Country --- p.55
Appendix III Prologues (and Epilogues) of Our Home Our Country --- p.56
Bibliography --- p.65
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Binns, Georgina Mary. "Patriotic and nationalistic song in Australia to 1919: a study of the popular sheet music genre." 1988. http://repository.unimelb.edu.au/10187/7059.
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Since European settlement of Australia, patriotic and nationalistic songs have provided entertainment and given an emotional outlet to the people of Australia. Due to their largely printed form, a significant proportion of these songs is still extant. The songs form a distinct subset of the larger popular song tradition.This thesis documents and analyses all known patriotic and nationalistic songs written and published in sheet music form to the close of World War One. This end date has been determined because it represents a peak in this genre and also signals a radical shift in direction for popular songs with the advent of widespread music recording and broadcasting.
Distinct historical events (e.g. the Sudan conflict, Boer War, and First World War) or themes (e.g. military threats, the rising nationalism leading to Federation of Australian colonies) which influenced or inspired songs in this genre will be discussed. Songs are grouped in distinct chronological or thematic samples. The songs are analysed in this thematic context and then treated using more conventional musicological techniques. The often conflicting ideals of patriotism and nationalism are discussed using the songs as a reflection of contemporary opinion.
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Van, Niekerk Letitia. "Intimidation as a factor in the liberation struggle in South Africa with special reference to Bela Bela (Warmbaths) : an anthropological perspective." Diss., 1999. http://hdl.handle.net/10500/17744.
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INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF
SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA
(WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE
The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for
interpreting religious, political and other revitalisation movements. This study focuses on
political revitalisation movements. Participation in the activities of revitalisation movements does
not always occur voluntarily. Leaders of such movements apply techniques and methods of
intimidation enforcing change and participation. In South Africa, political revitalisation was
inter alia brought about by the ANC as political liberation movement who used methods of
violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to
support the movement and enforce political change. The ANC inter alia used charactersitic
cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure
unanimity, participation and ultimately to achieve political liberation. Cultural components that
were exploited included communality, group solidarity, administration of justice, songs and
dances.INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik.
Anthropology and Archaeology
M.A. (Anthropology)
Books on the topic "National songs Patriotic music Nationalism in music"
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O, ädle svensk!: Biskop Thomas' frihetssång i musik och politik. Stockholm: Kungl. Musikaliska akademien i samarbete med Musikvetenskapliga institutionen vid Göteborgs universitet, 1988.
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Hagen, Nipp Susan, and Klein Nancy Spence, eds. Wee sing America: Songs of patriots and pioneers. Los Angeles, Calif: Price Stern Sloan Pub., 1987.
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Songs sung red, white, and blue: The stories behind America's best-loved patriotic songs. New York, NY: HarperResource, 2003.
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Collins, Ace. Songs sung red, white, and blue: The stories behind America's best-loved patriotic songs. New York, NY: HarperResource, 2003.
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Collins, Ace. Songs sung red, white, and blue: The stories behind America's best-loved patriotic songs. New York, NY: HarperResource, 2003.
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Burque, François Xavier. Chansons patriotiques et nationales: Extraites du deuxième volume des Elévations poétiques. [Québec: s.n.], 1994.
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Ivan, Ivanov. Simbolite na Bŭlgarii︠a︡: Gerb, zname, khimn. Sofii︠a︡: Petŭr Beron, 2004.
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Williams, Ralph Vaughan. National music and other essays. 2nd ed. New York: Clarendon Press, 1996.
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Williams, Ralph Vaughan. National music and other essays. 2nd ed. Oxford: Clarendon Press, 1996.
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National music and other essays. 2nd ed. Oxford [Oxfordshire]: Oxford University Press, 1987.
Find full textBook chapters on the topic "National songs Patriotic music Nationalism in music"
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Lohman, Laura. "“A Glorious Opportunity to Destroy Faction”." In Hail Columbia!, 103–46. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190930615.003.0004.
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Americans commonly leveraged music to circulate narratives of partisan dominance in the early republic, and this chapter examines how Federalists in particular used music to articulate a powerful narrative of legitimacy based on the incessant presentation of Federalist heroes and Republican villains during the intensely partisan atmosphere of John Adams’s presidency. Following French attempts to bribe US diplomats, songwriters expressed a surge of federalism, nationalism, and militarism in support of Federalist projects through both ephemeral songs and “patriotic” hits like “Hail Columbia” and “Adams and Liberty.” Despite Federalists’ efforts to destroy domestic political “faction,” Republicans refused to be silenced. They used many of the same symbols, strategies, and tunes to promote different causes and inspire oppositional political action through music.
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Amoakohene, Margaret Ivy, Gilbert K. M. Tietaah, Favour Esinam Normeshie, and Fidelis Yayra Sesenu. "Campaign Songs and Political Advertising in Ghana." In Advances in Religious and Cultural Studies, 108–30. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7295-4.ch006.
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As persuasive tools for political campaigns, songs and music are integral features of electioneering in Africa. Since Ghana's return to multiparty democracy in 1992, election cycles in the country have been heralded and accentuated by campaign songs which extol the virtues of their sponsors and/or denigrate the achievements and their suitability for political office. This chapter examines the use of repetitions, testimonials, and biblical imagery in campaign songs of two major political parties in Ghana—the New Patriotic Party (NPP) and the National Democratic Congress (NDC)—during the 2012 and 2016 elections. Eight campaign songs were analyzed. The findings show that the songs sought to communicate messages/themes of submissiveness/humility, divine choice/prophecy, achievers/achievement, and opponents as failures/deceivers about the political parties and their candidates.
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Dijkink, Gertjan. "Soldiers and Nationalism : The Glory and Transience of a Hard-Won Territorial Identity." In The Geography of War and Peace. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780195162080.003.0012.
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Anton von Werner’s Im Etappenquartier vor Paris (In quarters before Paris) is based on a sketch done by the painter during the German military campaign against France in October 1870. German soldiers amuse themselves with songs at the piano in a requisitioned manor house near Paris (Brunoy). Attracted by the music, the French concierge and child appear in the doorway. Some mundane activities to further enhance the atmosphere are in progress: lamps are lighted and a fire is kindled in the fireplace. We even know the song that is performed: Schubert’s “Am Meer” (By the sea), with words by Heinrich Heine. Nothing yet anticipates the disillusioned statement of George Steiner that became characteristic of late-twentieth-century reflection on war and culture: “We know now that a man can read Goethe or Rilke in the evening, that he can play Bach and Schubert, and go to his day’s work at Auschwitz in the morning.” In Werner’s painting, war still seems to be an innocent affair that first of all produces mud-stained boots. These boots and the sphere of fraternization that even encompasses the French housekeeper were meant to evoke the impression of sincerity in German soldiers, according to a German art historian. Ultimately converted into a painting, the picture became really popular when it was sold on the German market as a small tapestry after 1895. As the German writer and critic Ludwig Pietsch wrote at the time, “[Such pictures show] the good-natured and sentimental nature of the national character [. . .] which even in the rough and wild times of war and in the midst of an irreconcilable enemy cannot be denied.” Not surprisingly, the French reading of this picture (once or twice on exhibition in Paris) is somewhat different: “The attitudes of the lumpish soldiers with their blusterous posture, their heavy mud-stained boots, are completely in contrast to the refinement of the furniture. The conquerors behave somewhat like vandals. At the right in the doorway, the maid, on whom an officer seems to have designs, watches the scene accompanied by her daughter, who is hardly able to hide her fear.”