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Journal articles on the topic 'Patriotic music'
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Kudinov, S. I., O. B. Mikhailova, S. S. Kudinov, Jiawan Lin, and Honglei Xiao. "PSYCHOLOGICAL AND PEDAGOGICAL FOUNDATIONS OF PATRIOTIC EDUCATION IN MODERN MUSIC EDUCATION IN RUSSIA AND CHINA." Educational Psychology in Polycultural Space 64, no. 4 (2023): 97–106. http://dx.doi.org/10.24888/2073-8439-2023-64-4-97-106.
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Patriotic education is the basis for the spiritual and moral development of the individual. The relevance of the article lies in the consideration of the cross-cultural foundations of patriotic education in music education in Russia and China. The purpose of this scientific work is to justify and propose for the implementation the main directions of patriotic education in modern music education on the basis of theoretical and methodological analysis. The content also presents a theoretical analysis of the concepts of education, moral education, patriotic education, patriotism. Based on the analysis of modern scientific literature by Russian and Chinese authors, the main approaches to the formation and development of patriotism in music education in Russia and China are considered. The authors of the article substantiate and reveal through comparative analysis and comparison the leading psychological and pedagogical directions of patriotic education in modern music education: 1) development of psychological and pedagogical competencies in the field of patriotic education in a music teacher; 2) development and implementation of new technologies in musical education in using the potential of folk music and folk songs; 3) creation of new forms and methods in the study of musical works of national classical music created in various historical periods; 4) introduction of a modern repertoire of patriotic musical works into the practice of music education. In conclusion, promising trajectories for the development of technologies of patriotic education in music psychology and pedagogy in Russia and China are presented, along which further international research by Russian and Chinese scientists and practitioners of music education can develop.
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Rogers, Judy. "Patriotic Music." Music Educators Journal 88, no. 6 (May 2002): 63. http://dx.doi.org/10.2307/3399808.
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Wong, Sandy. "Patriotic Music." Music Educators Journal 88, no. 5 (March 2002): 11. http://dx.doi.org/10.2307/3399817.
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Cao, Yang, Xudong Feng, Xiaosong Che, Nana Xiao, Keying Huang, and Chenghong Wang. "On Ao Changqun's Patriotic Feelings in His Songs." Highlights in Art and Design 1, no. 3 (December 28, 2022): 120–22. http://dx.doi.org/10.54097/hiaad.v1i3.4057.
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Patriotism is a complex of loving and defending one's own country. As an outstanding contemporary composer in China, Ao Changqun has created a large number of excellent music works covering symphony, chamber music, concerto, opera, dance drama and other genres, and works that highlight patriotism play an important role in his music creation. This paper introduces Professor Ao Changqun's general situation of creation, combs his songs, and explores the patriotic feelings in his songs from three aspects: love of the motherland, love of the nation, love of hometown.
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Poluboiaryna, Iryna. "Patriotic Education of Children's Music School Students in the Process of Studying Compositions for Kobza." Professional Education: Methodology, Theory and Technologies, no. 18 (December 20, 2023): 142–54. http://dx.doi.org/10.31470/2415-3729-2023-18-142-154.
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The article substantiates the relevance of the problem of the formation of patriotism among students of children's music schools by means of epic musical works for kobza. The purpose of the article is to consider the educational work of patriotic orientation in the educational process of a children's music school, to determine the purpose, tasks, forms and methods, pedagogical conditions of patriotic education. Research methods. The following research methods are used to realize the defined goal: theoretical (analysis of scientific literature, synthesis, generalization, classification); empirical (observation, survey, study and analysis of educational and methodical documentation, plans of educational work). Results. The main task of the modern Ukrainian art school is determined, which consists in solving the important problem of implementing the value foundations of children's musical education. The definition of the concept of "Kobzarstvo" is given, which is characterized by a patriotic and civic orientation, an orientation towards the performance of author's and folk highly spiritual epic works, thoughts. It was determined that it is at school age that it is most appropriate to attract students to patriotism through the study of the highly artistic Ukrainian musical repertoire for kobza. It has been proven that the main goal of the process of patriotic education is the moral and psychological preparation of children to protect the Motherland and serve it. It is shown that studying the musical repertoire for kobza contributes both to the formation of patriotic concepts and to the improvement of students' interests and ideals. Conclusions. Therefore, the current task of Ukrainian children's musical education is the acquisition of knowledge of folk folklore, the desire to defend one's ideals, an active life position, and participation in the life of Ukrainian society. Pedagogical conditions for patriotic education of children's music schools students are substantiated: filling the educational process of children's music school with patriotic content through the use of highly artistic epic thoughts of Ukrainian professional composers and amateurs in kobza lessons; using the particular forms of extracurricular work (participation in creative competitions, Olympiads of various levels, volunteer activities, educational work in the city and region, which contributes to the development of the intellect and emotions of school pupils) in the educational process; ensuring patriotic upbringing of children in the family; introducing the elements of digitalization into the educational process of a music school with the aim of forming socially significant behaviour in a child and understanding its significance.
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Yusupova, Ol’ga V., and Galina N. Maximenko. "Structure of the concept of «musical patriotic culture of schoolchildren»." Vestnik of Samara State Technical University Psychological and Pedagogical Sciences 21, no. 1 (April 7, 2024): 15–24. http://dx.doi.org/10.17673/vsgtu-pps.2024.1.2.
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The relevance of the study is due to the increased attention to the patriotic education of the younger generation and the search for new forms and means of its implementation. The paper substantiates the need to introduce the concept of “musical patriotic culture of schoolchildren” and proposes its structure. Music adds a bright emotional component to develop a sense of patriotism in schoolchildren. The systematic introduction of elements of musical culture, reflecting the history of the country, into the targeted educational process, introducing schoolchildren to musical national traditions enriches and makes the process of patriotic education of schoolchildren more effective.
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Yaroshevska, Larisa. "Civic education of youth by means of musical art by V. Sukhomlinsky." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 373–77. http://dx.doi.org/10.33310/2518-7813-2019-65-2-373-377.
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Modern higher education actualizes the need of patriotism upbringing for future teachers as a feel and as a basic quality of the person on the basis of new approaches and new ways of its implementation. To solve the problem with success, it will be effective to create a patriotic educational environment of the University. Patriotic revival, taking place in modern Ukraine, activates society attention to the problem of harmonious, creative, spiritually developed, tolerant personality. Therefore, Ukrainian music using in patriotic education of the future teacher becomes prospective, necessary and relevant. The patriotic upbringing of high school students by means of musical art has its own characteristics, which requires extraordinary approaches to the quality of teacher training as a unique person capable in creativity and innovation in the process of patriotic education of schoolchildren. In order to find ways to improve the activities of universities, it is necessary to synthesize the latest achievements of pedagogy and old pedagogical traditions. Modern science should acquire a profound national content and character, to continuously evolve. Young people need to master new conceptual approaches to a correct understanding of patriotism, their own position on this issue. Musical art as a means of forming the national of future teachers is a powerful stimulus in the young people spiritual and moral formation. But attracting students to art is possible only on the solid foundation of spiritual, patriotic, folk music and the best works of modern times. Improvement of students’ musical education system affected the issues of using Ukrainian national folklore. The eternal spiritual traditions of the Ukrainian people should become the property of future teachers. The attraction of musical art specialty students to Ukrainian folk music is one of the ways in spiritual revival of Ukraine. The national awareness upbringing of youth by means of musical art will be effective provided when innovative technologies are used: purposeful, systematic and consistent introduction into practice of original, innovative methods, techniques, embracing a holistic educational process.
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RATHEY, MARKUS. "Celebrating Patriotism: Carl Philipp Emanuel Bach’s Compositions for the Militia in Hamburg." Eighteenth Century Music 4, no. 2 (September 2007): 265–83. http://dx.doi.org/10.1017/s1478570607000942.
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ABSTRACTWhen Carl Philipp Emanuel Bach became cantor in Hamburg in 1768, he was faced with a long musical tradition shaped by his ancestor Georg Philipp Telemann. Part of this tradition was the provision of compositions for the annual meeting of the captains of the militia, for whom Telemann had composed several oratorios and serenades. Even though Bach composed only two such Bürgerkapitänsmusiken, they are instructive pieces, showing the relationship between music, culture and politics in late eighteenth-century Hamburg, which at the time was a centre of political discourse. Questions of democracy, the relationship between government and the individual, and the possibilities of ‘patriotic education’ were discussed earlier in Hamburg than in other regions of Germany. It is especially the question of patriotism and of patriotic behaviour that informs Bach’s Bürgerkapitänsmusiken. An analysis both of the librettos (written by Christian Wilhelm Alers) and of Bach’s music shows how the ideas of enlightened patriotic discourse lurk behind these compositions and how they aim to depict an ideal political community.
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Bedrii, Christina. "Patriotic upbringing of younger students in class work." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 14–19. http://dx.doi.org/10.33310/2518-7813-2019-66-3-14-19.
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The article analyzes the implementation of patriotic education in the content of elementary school lesson work. It has been established that the upbringing of patriotism is one of the priority aspects of the national upbringing system and involves the formation of patriotic feelings, love for its people, a deep understanding of civic duty, and a willingness to defend the national interests of the Motherland. Examples of tasks and exercises in elementary education disciplines designed to educate children by patriots are considered. As, in the Concept of national patriotic education of children and youth it is stated that important patriotic qualities in children of primary school age appear through the prism of educational subjects of elementary school, in particular mother tongue, literary reading (through texts), mathematics (through the condition of mathematical problem) natural sciences (familiarization with traditions, respectful attitude to nature), work training (familiarization with traditional folk crafts, production of vignettes of different regions of Ukraine, decoration with different embroidery techniques ), musical art (comprehending the intonational peculiarities of music of the Ukrainian people), visual arts (forming a culture of feelings). An important place is given to the educational subject "I in the world", aimed at socializing the personality of the younger student, his patriotic and civic education. A program of Ukrainian patriotic upbringing of children and student youth, which outlines the content and basic tendencies of patriotic upbringing of the person, demonstrates that “at an early school age, it is important to shape a child's ability to recognize himself or herself as a member of a family, family, and child group; as a student, city or village resident; nurture her love for her home, school, street, her country, her nature, her native word, life, traditions [1,33]. Modern scholars distinguish the following structural components of a sense of patriotism: spiritual and moral experience and love for their native land; humanistic universal and national values; moral and aesthetic ideals of personality; creative and transformative activity for the benefit of the Motherland.
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Торопова, О. Ю. "НАЦІОНАЛЬНО-ПАТРІОТИЧНЕ ВИХОВАННЯ УЧНІВ ПОЧАТКОВОЇ ШКОЛИ НА УРОКАХ МУЗИЧНОГО МИСТЕЦТВА." Spiritual-intellectual upbringing and teaching of youth in the 21st century, no. 4 (2022): 564–66. http://dx.doi.org/10.34142//2708-4809.siuty.2022.142.
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The development of national-patriotic education of elementary school students in music lessons was studied. The concept of education, nationalpatriotic education is revealed. The essence of national-patriotic education of elementary school students in music lessons is analyzed. The role of nationalpatriotic education of elementary school students in music lessons is defined. The essence of the formation of national-patriotic education of elementary school students in music lessons with the help of Natalia Mai’s works is characterized.
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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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Kominek, Mieczysław. "Karol Szymanowski’s Vision of New Polish Music." Polski Rocznik Muzykologiczny 19, no. 1 (December 1, 2021): 104–17. http://dx.doi.org/10.2478/prm-2021-0004.
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Abstract In 19th-century Poland — under Russian, Prussian and Austrian rule at the time – the main goal of music was to promote revival and to stimulate patriotic feelings. Patriotic Polishness drawing on the country’s glorious past was to be the essence of music; modernity of the composer’s language was of secondary importance. Karol Szymanowski unceremoniously criticised this patriotic music as turned towards the provincial Polish tradition. According to Szymanowski, the criterion of Polish and at the same time “civilised musical art” was met only by Chopin. With the regaining of independence Polish art should free itself from patriotic didacticism and pay attention to aesthetic qualities, which was to eliminate the discrepancy between Polishness and Europeanness, between what was national and what was international, universal and European. The figure of Karol Szymanowski links our musical present, symbolised by the Warsaw Autumn International Festival of Contemporary Music, with the first years of independent Poland, for Warsaw Autumn realized Karol Szymanowski’s vision of modern Polish music. In this vision Polish music was a rightful element of European culture.
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Шишлянникова, Нина Петровна. "MUSIC OF RUSSIAN COMPOSERS IN EDUCATION OF TEENAGERS AS PATRIOTS." Pedagogical Review, no. 6(46) (December 6, 2022): 114–21. http://dx.doi.org/10.23951/2307-6127-2022-6-114-121.
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Рассмотрена проблема патриотического воспитания подростков в современных условиях информационной войны, направленной в том числе на подрастающее поколение. Отмечено деструктивное влияние потребительской субкультуры, доминирование псевдоискусства над истинным искусством и культурой, что приводит к деформации ценностных понятий об истине, добре и красоте, чувства патриотизма, любви к Отечеству. Обоснована ничем другим незаменимая роль искусства в патриотическом воспитании современных подростков, поскольку эмоционально-чувственный компонент (любовь к родине и ее народу, гордость за прошлые победы в борьбе за независимость, культурные достижения современности и привязанность к родным местам) является основным содержанием понятия «патриотизм» и произведений искусства. Музыка, соприкасаясь с тончайшими движениями человеческой души, ближе других видов искусства к самой сути возвышенного в природе, обществе, индивидуальной жизни человека. Приведены примеры реализации воспитательных возможностей произведений отечественных композиторов патриотической направленности (А. П. Бородина, Д. Д. Шостаковича, Г. В. Свиридова) студентами-музыкантами во время педагогической практики в общеобразовательной школе. Выбор произведений отражает разные периоды отечественной истории: от начала XII в. и до наших дней. Оправданность методических подходов в решении задач патриотического воспитания подростков на примере прослушивания и исполнения музыки отечественных композиторов подтверждена данными устного и письменного опроса учащихся 7-го класса, которые позволяют судить о достаточно высоком уровне их патриотической воспитанности на данном возрастном этапе развития. The article observes the problem of patriotic education of teenagers in modern condition of information war, which is also aimed at the younger generation. It marks the destructive influence of consumer subculture, domination of pseudo-art over true art and culture, which leads to deformation of value understanding about truth, kindness and beauty, sense of patriotism and love for Motherland. The irreplaceable role of art in the patriotic education of modern teenagers is substantiated by nothing else, since the emotional and sensual component (love for the motherland and its people, pride in past victories in the struggle for independence, cultural achievements of our time and attachment to native places) is the main content of the concept of «patriotism» and works of art. Music, in contact with the subtlest movements of the human soul, is closer than other forms of art to the very essence of the sublime in nature, society, and the individual life of a person. Examples of the realization of the educational possibilities of works by domestic composers of a patriotic orientation (A. P. Borodin, D. D. Shostakovich, G. V. Sviridov) by students-musicians during pedagogical practice in a comprehensive school are given. The choice of creations reflects different periods of Russian history: from XII century till our days. Justification of the methodical approaches in solving the problems of patriotic education of teenagers on the examples of listening and performance of the music of the Russian composers is confirmed by the data of oral and written interviews of 7th grade students, which allow us to estimate a fairly high level of their patriotic education at this age stage of development.
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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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Osipov, Sergey. "Stalin's Houses on Lenin Street: Late Soviet Underground Rock in Patriotic Discourse (1981-1991)." Философия и культура, no. 7 (July 2023): 29–56. http://dx.doi.org/10.7256/2454-0757.2023.7.39098.
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The subject of the study is the late Soviet underground rock song both in the general context of Soviet popular culture and in the context of patriotic discourse in the Soviet popular song of the 1960s-1980s. The correlation of various segments of Soviet popular music and their access to mass communication media, the phenomenon of the transformation of rock music from a marginal subculture into one of the segments of popular Soviet song is considered. Concrete examples demonstrate the content versatility of an uncensored Soviet rock song, in particular, its contribution to patriotic discourse. The duration and stability of the existence of the considered variations of patriotic discourse are considered. The main conclusions of the study include: -the development of mass/popular songs is directly dependent on the development of mass communication and access to them; -in the 1960s-1980s, the Soviet state lost its monopoly on the ownership of means of delivering music content to the listener; - by the early 1980s Soviet rock music ceased to be a copy of the Western model and became a Soviet/Russian song genre based on domestic melodics, Russian literary poetic tradition, etc.; -the access to the means of delivering song content turned rock song into a segment of Soviet popular music, both censored and in uncensored versions; -the socio-political content in general and the patriotic theme in particular were not an attribute exclusively of the official Soviet song, but found their expression in the work of the authors of the underground rock scene; - the Soviet popular uncensored song made the patriotic discourse much more diverse, rich, sharp, etc. - the identified interpretations of patriotic discourse have a stable existence, being actualized in the modern media environment.
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Adely, Fida J. "Is Music Haram? Jordanian Girls Educating Each Other about Nation, Faith, and Gender in School." Teachers College Record: The Voice of Scholarship in Education 109, no. 7 (July 2007): 1663–81. http://dx.doi.org/10.1177/016146810710900711.
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Purpose This research explores the importance of extracurricular activities, specifically music performances of a high school music group in Jordan, for the education of adolescent girls about patriotism, the proper way to live their faith, and their role as young women in contemporary Jordan. Setting Article is based on research in a high school for girls in a Jordanian city. Research Design The research presented in this article draws upon an ethnographic study, including interviews and observation, of a girls’ high school in Jordan, and event analysis of school-sponsored assemblies in and outside of school. Conclusions/Recommendations The participation of adolescent girls in music performances at patriotic events—the culmination of extracurricular activities at school—brought to the fore conflicts between patriotism and new forms of religiosity and gendered propriety, creating opportunities for young women to deliberate about these critical issues.
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Kubisz-Muła, Łukasz. "Wpływ charakteru muzyki instrumentalnej w reklamie audiowizualnej na postrzeganie cech promowanych aktorów politycznych." Polityka i Społeczeństwo 19, no. 3 (2021): 50–67. http://dx.doi.org/10.15584/polispol.2021.3.4.
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The paper presents the results of a laboratory study whose aim was to describe how the character of background music of audio-visual political advertising shapes the watchers’ perception of the qualities of politicians. Three groups of participants watched the same Polish political spots accompanied with different music: a) majestic; b) sentimental with patriotic connotations; c) sentimental without patriotic connotations; d) energetic. The conducted analysis has shown that the character of the background music can affect the viewers’ opinions about some of the features of the politicians in question.
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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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Studwell, William E. "American Patriotic Songs:." Music Reference Services Quarterly 1, no. 3 (August 2, 1993): 55–64. http://dx.doi.org/10.1300/j116v01n03_03.
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Studwell, William E. "International Patriotic Songs:." Music Reference Services Quarterly 1, no. 4 (October 4, 1993): 91–99. http://dx.doi.org/10.1300/j116v01n04_04.
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Pavlovich, Bilyana. "Civic Education of Younger Schoolchildren Based on Patriotic Songs." Primary Education 10, no. 1 (February 21, 2022): 48–52. http://dx.doi.org/10.12737/1998-0728-2022-10-1-48-52.
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The article discusses the problem of patriotic education of children in modern society as a condition for strengthening national traditions, preserving the national identity and identity of peoples within a single global society. The special importance of instilling love for the Motherland in the territory of Kosovo and Metohija is emphasized. The article reveals a methodology for introducing primary school students to patriotic music, in particular songs of patriotic content, which develops children's interest in getting to know the musical culture of their native country, forms a positive attitude towards their people and love for the Motherland.
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Rose, Stephen. "PATRIOTIC PURIFICATION: CLEANSING ITALIAN SECULAR VOCAL MUSIC IN THURINGIA, 1575–1600." Early Music History 35 (September 28, 2016): 203–60. http://dx.doi.org/10.1017/s0261127916000048.
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In German-speaking lands until the 1580s, Italian secular vocal music was mainly cultivated by a narrow elite of aristocrats and merchants who valued its exclusivity. Yet some German patriots – teachers, clergy and humanists – regarded such foreign imports as emasculating luxuries that would corrupt their national character. This article examines four collections of contrafacta of Italian villanellas and madrigals that were published in Erfurt and have been neglected by modern scholars: the Cantiones suavissimae (1576 and 1580), Primus liber suavissimas praestantissimorum nostrae aetatis artificum Italianorum cantilenas (1587) and Amorum filii Dei decades duae (1598). According to the prefatory material of these anthologies, their editors were motivated by a patriotic agenda of purifying Italian secular song and by a Lutheran belief in the intrinsic holiness of music. This article provides the first comprehensive identification of the originals of the contrafacta, showing that the latest Italian secular repertory travelled as speedily to Thuringian towns as to the better-known publishing centre of Nuremberg. The process of transformation in the contrafacta is discussed, including examples where church officials ruled that the change of text was insufficient to cleanse the tunes of their lascivious connotations.
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Kwon, David. "Imagined as us-American: Patriotic Music, Religion, and Violence Post-9/11." Socio-Historical Examination of Religion and Ministry 2, no. 1 (March 23, 2020): 96–120. http://dx.doi.org/10.33929/sherm.2020.vol2.no1.05.
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With the common correlation of the patriotic music community to “America,” country music after 9/11, in many respects, could be seen as a site for the reinforcement and construction of American national identity. This article particularly explores the use of country music in the United States to represent and create a political ideology of “imagined” national identity in the time period between September 11, 2001 and the invasion of Iraq in the Spring of 2003. However, the nation, as imagined in these country song lyrics, has very specific dimensions. It is not just any nation. It is perceived (and valued, for that matter) as justifiably aggressive. It is a Christian nation defined in opposition to the Islamic “other.” This targeted racial and religious group is not just an outside foreign “other” but a heavily stigmatized foreigner from within their own country. The mapping of these particular concepts of nation and religion onto mainstream country music constitutes its primary imagined identity.
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MARTIROSYAN, MADONA. "THE IMAGE OF PATRIOTISM OF TIGRAN THE GREAT HIGH TIP." JOURNAL FOR ARMENIAN STUDIES 3, no. 62 (November 14, 2023): 137–49. http://dx.doi.org/10.24234/journalforarmenianstudies.v3i62.64.
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The article briefly discusses the image of Tigran the Great (95-55 BC) in the field of literature, sculpture, painting, and music. His image was presented as the supreme symbol of patriotism. Armenian artistic authors almost did not refer to the image of Tigran the Great. Only historians have reflected within the framework of the topic. Meanwhile, in the years 1684-1858, a new "Tigran" opera was born on European stages every decade. The reason was perhaps the absence of Armenia's independence and state thinking. The image of the Armenian king has been referred to by Armenian authors since the first half of the 1940s, during the Soviet Patriotic War. In order to raise the patriotic and fighting spirit of the Soviet people fighting against fascism, historical figures were presented in art, literature and other fields. Tigran the Great, the embodiment of the patriotic spirit, unbreakable perseverance, physica and mental strength, the bearer of the idea of victories and world domination, became a popular figure. Since that period, historical works, paintings and sculptures dedicated to Tigran the Great, with a patriotic orientation, have been created. Each of them has a great contribution in popularizing the image of the greatest Armenian ruler, Tigran the Great. There is still no known king in the world, whose image has moved and fascinated European composers as much as the image of Tigran the Great. We already know 41 operas in which Tigran the Second plays a major role. Among those operas, Vivaldi's Tigran is more popular. First of all, they embodied the idea of unconditional dedication to the motherland.
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Bagarič, Alenka. "Musical Topography of the First World War in Slovenia." Musicological Annual 53, no. 2 (November 27, 2017): 23–49. http://dx.doi.org/10.4312/mz.53.2.23-49.
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The image and role of music among soldiers and civilians during the First World War on the territory of the present Slovenia is depicted by comparing the music sources and preserved documents. Music unveiled intimate lives of individuals as well as their imparted feelings of belonging to a community, nation and country. The article focuses on the description of situations and ways of singing military folk songs, the meaning and impact of the journal Church Musician, and the patriotic role of marches.
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Çelikkol, Ayşe. "Dionysian Music, Patriotic Sentiment, and Tennyson's Idylls of the King." Victorian Poetry 45, no. 3 (2007): 239–56. http://dx.doi.org/10.1353/vp.2007.0028.
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ROBERTSON, MARTA. "Ballad for Incarcerated Americans: Second Generation Japanese American Musicking in World War II Camps." Journal of the Society for American Music 11, no. 3 (August 2017): 284–312. http://dx.doi.org/10.1017/s1752196317000220.
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AbstractDuring World War II, the United States government imprisoned approximately 120,000 Japanese Americans, two-thirds of whom were American-born citizens, half of whom were children. Through ethnographic interviews I explore how fragile youthful memories, trauma, and the soundscape of the War Relocation Authority (WRA) Incarceration Camps shaped the artistic trajectories of three such former “enemy alien” youth: two pianists and a koto player. Counterintuitively, Japanese traditional arts flourished in the hostile environment of dislocation through the high number ofnisei(second generation) participants, who later contributed to increasing transculturalism in American music following resettlement out of camp. Synthesizing Japanese and Euro-American classical music, white American popular music, and African American jazz, manyniseiparadoxically asserted their dual cultural commitment to both traditional Japanese and home front patriotic American principles. A performance of Earl Robinson and John Latouche's patriotic cantata,Ballad for Americans(1939), by the high school choir at Manzanar Incarceration Camp demonstrates the hybridity of these Japanese American cultural practices. Marked by Popular Front ideals,Ballad for Americansallowedniseito construct identities through a complicated mixture of ethnic pride, chauvinistic white Americanism allied with Bing Crosby's recordings of theBallad, and affiliation with black racial struggle through Paul Robeson's iconicBalladperformances.
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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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Scarlato, Mya. "Playing Upon the Blue Guitar: Toward Re-imaginings of the U.S. National Anthems." Action, Criticism, and Theory for Music Education 21, no. 2 (September 2022): 89–125. http://dx.doi.org/10.22176/act21.2.89.
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Drawing upon Maxine Greene’s concepts of wide awakeness and social imagination, I argue for the necessity of re-imagining “The Star-Spangled Banner” (U.S. national anthem) to account for a plurality of American perspectives and to de-legitimize ways in which racism and White privilege have dictated “correct interpretations” of the anthem throughout U.S. history. Toward these ends, in this essay I explore the patriotic re-imaginings of the U.S. national anthem by Black musicians Jimi Hendrix, René Marie, and Jon Batiste—two of whom incorporated “Lift Ev’ry Voice and Sing,” otherwise known as “the Black national anthem,” into their musical renderings. I also look reflexively at my experience with the song as a White American music teacher striving to work toward anti-racist pedagogy and engagements with patriotic music in the classroom. While there are a variety of musical recordings linked throughout the essay, I recommend that the reader view the three video recordings list below before reading the essay.
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Mišina, Dalibor. "“Spit and Sing, My Yugoslavia”: New Partisans, social critique and Bosnian poetics of the patriotic." Nationalities Papers 38, no. 2 (March 2010): 265–89. http://dx.doi.org/10.1080/00905990903517801.
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As “music of commitment,” in the period from the late 1970s to the late 1980s rock music in Yugoslavia had an important purpose of providing a popular-cultural outlet for the unique forms of socio-cultural critique that engaged with the realities and problems of Yugoslav society. The three “music movements” that embodied the new rock'n'roll spirit – New Wave, New Primitives, and New Partisans – used rock music to critique the country's “new socialist culture,” with the purpose of helping to eliminate the disconnect between the ideal and the reality of socialist Yugoslavia. This paper examines the New Partisans as the most radical expression of music of commitment through the works of its most important rock bands: Bijelo dugme, Plavi orkestar, and Merlin. The paper's argument is that the New Partisans’ socio-cultural engagement, animated by advocacy of Yugoslavism, was a counter-logic to the nationalist dissolution of a distinctly Yugoslav fabric of a socialist community in crisis. Thus, the movement's revolutionary “spirit of reconstruction” permeating its “poetics of the patriotic” was a mechanism of socio-cultural resistance to political, cultural and moral-ethical de-Yugoslavization of Yugoslav society. Its ultimate objective was to make the case that the only way into the future – if there was to be any – rested on strategic reanimation of the Partisan revolutionary past as the only viable socio-cultural foundation of the Yugoslav socialist community.
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Monte, Ernest Patrick. "Romancing the nation, effacing history: reading Kenya through patriotic choral music." Social Dynamics 43, no. 3 (September 2, 2017): 451–69. http://dx.doi.org/10.1080/02533952.2017.1394648.
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Gill, Fatima, and Lubna Batool. "Strategic Importance of National Songs in Warfare: A Multimodal Discourse Analysis of Remakes in Pakistan." Global Strategic & Securities Studies Review VIII, no. II (June 30, 2023): 49–57. http://dx.doi.org/10.31703/gsssr.2023(viii-ii).06.
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Inculcating the spirit of patriotism and breeding a positive sentiment for war through national songs is a commonplace practice after Second World War. These songs are helpful in developing patriotic morals and cultural values of any nation. Pakistan has fought many wars since its independence and still war is an omnipresent threat. This study analyzes the strategic importance of introducing remakes. For the said purpose, it applies Multimodal discourse analysis to analyze the content of remakes from 2020-2022 national songs. The study evaluates the literature review on three dimensions i.e. Aural, visual and gestural modes. Choral music is a source to influence behaviour and the formation of national identity. Moreover, the remake of songs with the use of new cinematography embeds the memories of colonial injustice and Indian atrocities in youth.
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Horowitz, Joseph. "Henry Krehbiel: German American, Music Critic." Journal of the Gilded Age and Progressive Era 8, no. 2 (April 2009): 165–87. http://dx.doi.org/10.1017/s1537781400001134.
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The “dean” of New York's music critics a century ago, Henry Krehbiel–born in Ann Arbor to German immigrant parents—was emblematic of a vibrant intellectual community that blended Germanic and American traits. As a dominant propagator of a distinctively wholesome American Wagnerism, he embodied both German Kunst and American meliorism. As a self-made critic, he combined weighty scholarly learning and prose with a nose for news and a popularizing bent. During World War I, the German enemy incited no more patriotic response than his. But Krehbiel was increasingly stranded in postwar America. A bearer of genteel culture, he retained his iron criterion of uplift; no such aesthetic anchor would stabilize art in times to come.
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Howe, Sondra Wieland. "Elsie Shawe, Music Supervisor in St. Paul, Minnesota (1898–1933)." Journal of Research in Music Education 52, no. 4 (December 2004): 328–42. http://dx.doi.org/10.1177/002242940405200405.
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Elsie Shawe (1866–1962), supervisor of music in St. Paul, Minnesota, for thirty-five years, is an example of a music supervisor in the United States who was active in the formative years of the Music Supervisors National Conference (MSNC). Although she is cited only briefly in national accounts, there is a substantial amount of material on her career in local archives. In the St. Paul Public Schools, Shawe supervised classroom teachers, organized the school music curriculum, and conducted performances in the community. She served as a church organist and choir director in St. Paul and was president of the Minnesota Music Teachers Association. At the national level, Shawe was an officer of the NEA Department of Music Education and a member of the board of directors of the MSNC. Through her committee work, Shawe promoted the standardization of patriotic national songs.May 5, 2004November 10, 2004.
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IOAN, Cristina Mioara. "Representative Music of the Ministry of National Defense – decisive presence in the Romanian cultural and musical evolution." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 77–84. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.8.
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Symphony orchestra of blowers, Representative Music of the Ministry of National Defense is today the performance standard in terms of wind bands in our country. Through its activity carried out during seven decades, the band crowned the creative, interpretative, educational and cultural values of the military music bands from the Romanian garrisons and military units. Having a repertoire that exceeds two thousand works from almost all musical genres (hymns, marches, patriotic and military songs, fantasies, potpourri, overtures, processing of songs and folk games, symphonic poems, symphonies, jazz, Romanian light music, etc.) from the creations of Romanian and universal composers, the wind symphony orchestra supported a rich concert, ceremonial and protocol activity, representing Romania in numerous national and international festivals.
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Wolny-Abouelwafa, Edyta. "The Heart of Arabs. Emirati Songs for Egypt." Nowa Polityka Wschodnia 37, no. 2 (2023): 278–94. http://dx.doi.org/10.15804/npw20233713.
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Creating patriotic songs in the Arab countries is very common. They can represent different types of music, can be connected to special occasions or be created without them, just from the ‘need a heart’. The author of the article has been doing research on contemporary Egyptian patriotic songs for years. On the basis of her results, she has decided to divide all the analysed songs into the those created by Egyptians for Egyptians and in addition created by other artists for Egypt and its citizens. The job of the latter she calls ‘patriotic songs’ as well and divided them into two main groups which are connected with the way they identify themselves. The article presents the results of the analysis of selected songs released by United Arab Emirates’ artists for Egypt. The article’s author’s goal was to check the songs’ topics and which one of the previously mentioned groups they represent. She also mentions the figure of Hussain Al Jassmi, the most popular, in recent years, Emirati singer creating patriotic songs for Egypt. She analysed the songs on the basis of the songs’ topics and combined it with the contemporary relations between United Arab Emirates and Egypt while mentioning their origins historically. All of this allowed her to reach the conclusions presented in the article.
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Thurmaier. ""When Borne by the Red, White, and Blue": Charles Ives and Patriotic Quotation." American Music 32, no. 1 (2014): 46. http://dx.doi.org/10.5406/americanmusic.32.1.0046.
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Bowers, Lauren. "“The Song They Lived By”: The “Marines’ Hymn” during World War II." Marine Corps History 8, no. 2 (December 22, 2022): 23–42. http://dx.doi.org/10.35318/mch.2022080202.
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With the onset of America’s involvement in World War II in December 1941, there was a marked upswing in the popularity of all patriotic music, including the “Marines’ Hymn.” This article provides insight into the story of the “Marines’ Hymn” during World War II, including the increase in demand for published sheet music editions and the numerous suggestions of new lyrics to reflect the wartime experiences of Marines around the globe. It also highlights the role played by Marine Corps leadership in encouraging the hymn’s popularity, both at home and in the directives given to their combat correspondents reporting from the front.
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Guerrini, Susan C., and Mary C. Kennedy. "Cross-Cultural Connections: An Investigation of Singing Canadian and American Patriotic Songs." Bulletin of the Council for Research in Music Education, no. 182 (October 1, 2009): 31–40. http://dx.doi.org/10.2307/27861460.
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Abstract The purpose of this study is to compare American and Canadian high school choral students’ knowledge of their respective patriotic songs. The questions of the study are as follows: (a) do students sing accurately their respective national anthems relative to melody and lyrics; (b) do students sing accurately "America" and "God Save the Queen" relative to melody and lyrics; (c) do students sing accurately the national anthems of each other’s country relative to melody and lyrics; and (d) is there a difference in the accuracy when students sing their respective and each other’s patriotic songs? The sample consisted of 102 secondary school students who were enrolled in non-auditioned choir classes and audio taped singing unaccompanied versions of their respective national anthems and "America" or "God Save the Queen." Results indicated that overall, Americans were significantly more proficient than Canadian singers. When converted to percentages, 77% of American students and 41% of Canadian students were judged as proficient when singing lyrics and melody of their own National Anthem. American students were significantly more accurate (p < .0001) in melody and lyrics when singing "America" than Canadian students who performed "God Save the Queen." Implications for practical application indicate that more emphasis should be placed on giving choir students the opportunity to sing their own national anthems, with special attention to typical lyric mistakes.
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Andrukhiv, Oleh, Liubomyr Ilyn, and Mykhailo Kosmii. "Analysis of normative and legal acts of Ukraine in the sphere of national patriotic education." Scientific and informational bulletin of Ivano-Frankivsk University of Law named after King Danylo Halytskyi 1, no. 15(27) (March 16, 2023): 20–29. http://dx.doi.org/10.33098/2078-6670.2023.15.27.1.20-29.
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Purpose. The purpose of the publication is the analysis and systematization of the main normative legal acts of Ukraine, which determine and regulate the state policy in the field of national and patriotic education. Method. The methodological basis of the study was a set of general scientific, special scientific and historical methods, as well as the principles of historicism and objectivity. Results. It was established that as of the beginning of 2023, more than two dozen legal acts regulating the procedure of national-patriotic education are in force. It is significant that the lion's share of them are Presidential Decrees. It is important that certain normative legal acts were adopted after 2014 and are a direct reaction to the occupation of Crimea and military actions in the East of Ukraine. According to content and object of influence, they can be divided into several blocks: 1) laws determining the legal status of state symbols, in particular the national language; 2) laws and decrees on the celebration of certain memorable dates from national history and honoring the victims of totalitarian regimes, military conflicts, etc.; 3) state strategies of national-patriotic education and relevant presidential decrees or government programs regarding their implementation; 4) laws emphasizing the educational component, the role of educational institutions, and even the personal responsibility of pedagogical and scientific-pedagogical workers for the implementation of national-patriotic education. Scientific novelty. It is proposed that the improvement of state policy in the field of national-patriotic education can be achieved through: the commitment of scientists, representatives of local self-government bodies, and government officials to the process of forming a single categorical and conceptual apparatus, which will become a road map and allow streamlining measures for national-patriotic education; due to the development of the level of legal culture of the population, strengthened information policy; diversification of approaches to the organization of national-patriotic education, and activation of the participation of mass media, representatives of culture, cinematography, music, show business, study and implementation of international experience regarding the implementation of responsibility for denigrating the importance of national culture, history, traditions of state-building; consideration of the issue of national-patriotic education as an element of national security. Practical significance. The results of the research can be used in further legal studies, work of local and state authorities, which are responsible for the implementation of state policy in the field of national-patriotic education.
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DENISOVA, I. "MUSIC EDUCATION IN MEN'S THEOLOGICAL EDUCATIONAL INSTITUTIONS OF VITEBSK (XIX – BEGINNING OF XX CENTURY)." Herald of Polotsk State University. Series E. Pedagogical sciences, no. 2 (November 28, 2023): 2–5. http://dx.doi.org/10.52928/2070-1640-2023-40-2-2-5.
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The article provides a historical and pedagogical analysis of the practice of music education in male religious
educational institutions of Vitebsk in the 19th – early 20th centuries using the example of a theological school and
seminary. It was revealed that the leading form of music education was compulsory church singing lessons, which were
conducted throughout the entire period of study. Currently, some elements of the identified historical experience may be
relevant for use in theological seminaries and schools: the creation of a choir and training in playing musical instruments,
holding musical evenings, collective performance of patriotic songs at ceremonial meetings.
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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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Ottlová, Marta. "Probleme mit einem nationalheld. Zu Bedřich Smetanas oper Dalibor." Studia Musicologica 52, no. 1-4 (March 1, 2011): 201–8. http://dx.doi.org/10.1556/smus.52.2011.1-4.15.
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Bedřich Smetana’s and Josef Wenzig’s Dalibor (1868) attempted to convey into the Czech milieu the central topic of contemporary tragic opera, i. e. the utopy of happiness achieved only in the moment of death. Coeval reports and the revisions of the opera show that a subject matter from the national history excited other expectations from the Czech musical community, and that the public desired to see an active and brave national hero. A suffering man torn by wishing revenge on one side and searching for harmony and love on the other was out of the horizon of the patriotic ideology.
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Tsipursky, Gleb. "Jazz, Power, and Soviet Youth in the Early Cold War, 1948−1953." Journal of Musicology 33, no. 3 (2016): 332–61. http://dx.doi.org/10.1525/jm.2016.33.3.332.
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Examining the history of jazz in the Soviet Union between 1948 and 1953, this essay sheds light on the role of popular music in the cultural competition of the early Cold War. While the Soviet authorities pursued a tolerant policy toward jazz during World War II because of its wartime alliance with the United States, the outbreak of the Cold War in the late 1940s led to a decisive turn against this music. The Communist Party condemned jazz as the music of the “foreign bourgeoisie,” instead calling for patriotic Soviet music. Building on previous studies of the complex fate of western music in the USSR during the postwar decades, this article highlights a previously unexamined youth counterculture of jazz enthusiasts, exploring the impact of anti-jazz initiatives on grassroots cultural institutions, on the everyday cultural practices of young people, and on the Cold War’s cultural front in the USSR. It relies on sources from central and regional archives, official publications, and memoirs, alongside oral interviews with jazz musicians and cultural officials.
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Zochios, Stamatis. "Sakharov, Kireevsky, Afanasyev and others: Stravinsky in the context of Russian folkloristics." Muzikologija, no. 34 (2023): 19–31. http://dx.doi.org/10.2298/muz2334019z.
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This article focuses on the studies and collections of folk songs and tales that formed the main source of inspiration for Igor Stravinsky during the Russian period of his work. To do this, I begin with a brief analysis of the evolution of folkloristics mainly during the 19th century and the construction of science with clearer, mainly national and patriotic goals and methods, as well as the use of folk literature and poetry by the artists of the time. It was in this field that Stravinsky was active, although in the case of his own modern approach, it is difficult to answer whether the motivations were clearly national or not.
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Bayramova, Z., S. Bayramova, and G. Gamidova. "The Role of Course Activities in the Formation of the Feeling of Love for the Homeland in the Primary School." Bulletin of Science and Practice, no. 2 (February 15, 2023): 307–11. http://dx.doi.org/10.33619/2414-2948/87/35.
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The manifestation of a feeling of love for the Motherland and its development have been one of the issues that have attracted attention since ancient times. Civic education is at the center of the educational work of the school. The feeling of love for the Motherland is the attachment of a person to the Motherland, its land, nature, natural wealth. The article deals with the issues of patriotic education of primary school students in out-of-school institutions. It is shown that centers of children's creativity, music and sports schools, local history museums play a significant role in the cause of love for the motherland. The article talks about the experience of out-of-school institutions located in the city of Ganja of the Republic of Azerbaijan. Examples of lullabies, proverbs and sayings, bayats, songs related to the patriotic education of younger schoolchildren are given.
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Hermeston, Rod. "‘The Blaydon Races’: lads and lasses, song tradition, and the evolution of an anthem." Language and Literature: International Journal of Stylistics 20, no. 4 (November 2011): 269–82. http://dx.doi.org/10.1177/0963947011398281.
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In this article I examine the evolution of the Tyneside song, ‘The Blaydon Races’, into a local anthem, with a focus on the contribution of the plurals lads and lasses to this status. I consider the obstacles to the dialect song becoming an anthem, in particular its origins in non-respectable 19th-century music hall. Existing scholarship on 19th-century dialect song or poetry often sees such material as enhancing solidarity at the levels of class or region (Beal, 2000; Wales, 2002, 2006). Influenced by the work of Coupland (2006) and Eckert (2005), however, I posit a more fluid conception of identity within popular entertainment spaces, which may operate alongside, contribute to, or undermine categories such as class or region. I use an electronic corpus of 19th-century Tyneside song to investigate the collocation of lads in particular with Tyneside, and its role in fostering local patriotism. I also consider the pragmatic function of lads as a term of address or apostrophe to sporting heroes in song. I then examine the terms of address lads and lasses within the already intimate context of shared music hall song choruses, recalling, nevertheless, the controversies surrounding the institution. This function of lads in the chorus of ‘The Blaydon Races’, and the cultural ‘resonance’ of references to ‘lads an’ lasses’ are seen potentially to enhance solidarity from the outset. However, increasingly with locally patriotic functions, they can enhance group bonding within evolving contexts of shared singing – within the later music hall, among troops in both World Wars, and among Newcastle United football supporters.
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Specht, R. John, and Sandy Valerio. "The Long Island State: And Other Patriotic, Comic, Sentimental, and Descriptive Songs of Nineteenth Century America." American Music 6, no. 1 (1988): 121. http://dx.doi.org/10.2307/3448363.
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Mitzner, Piotr. "The Return of the „Red Donkey Jacket”." Tekstualia 1, no. 48 (July 20, 2017): 173–77. http://dx.doi.org/10.5604/01.3001.0013.3096.
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The article is devoted to Polish wartime poetry (1939–1945) and its later reception. The term „the third avant-guard” has been used to indicate a singular tendency. Its representatives, who disapproved of banality and stereotypes, themselves wrote texts based on stereotypes. These texts became subject to manipulation in the post-war period so as to serve ideological purposes. The article also examines the category of the patriotic song and a connection between text and music in this form.
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Zhao, Jun, and Marianne Zhao. "Political Meanings Hidden Behind Enchanting Melodies: How China Delivered Ideological Messages in the Song Cycle “Four Seasons of Our Motherland”." Folklore: Electronic Journal of Folklore 88 (April 2023): 219–34. http://dx.doi.org/10.7592/fejf2023.88.zhao_zhao.
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Music draws influence from its surroundings and thus, with its political and social setting, becomes a part of the dynamic relationship. The aim of this article is to investigate and introduce this particular feature in the context of Chinese culture and explain, with the help of Zheng Qiufeng’s song cycle “Four Seasons of Our Motherland”, how politics play a part next to folk music elements, enchanting melodies, and patriotic lyrics. The song cycle in question was chosen as an example of how politics can be subtly included in the musical plot. It is one of the very few Chinese song cycles, the most well-known one, and made unique by the inclusion of minority characteristics from different Chinese regions together with its distinctive ideological mission.