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Artículos de revistas sobre el tema "War music"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 9 de febrero de 2022

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1

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

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2

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

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3

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

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

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4

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

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5

Walkusz, Marta. "Funkcja warszawskich druków muzycznych wydanych w latach 1875- 1918, na przykładzie czterech największych kolekcji przechowywanych w Bibliotece Głównej Akademii Muzycznej im. Stanisława Moniuszki w Gdańsku." Z Badań nad Książką i Księgozbiorami Historycznymi 14, no. 1 (2020): 41–62. http://dx.doi.org/10.33077/uw.25448730.zbkh.2020.181.

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The article presents a fragment of provenance researches conducted on the largest musical legacies stored in the Main Library of the Stanisław Moniuszko Music Academy in Gdańsk, containing music prints published in Warsaw in the years 1875-1918. These legacies belonged primarily to the musicians who, after World War II, moved to the Coast, mainly from Warsaw. The purpose of the discussion is to prove that the music prints they brought were a canon of music literature for promoting Polish culture and music education both in Warsaw in 1875-1918 and in post-war Gdańsk. Due to the weak publishin

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6

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

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7

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

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The contribution is a survey of music as a social practice on the territory of today’s Slovenia during the Great War. It addresses the Slovenian music culture during the Great War from three complementary perspectives. Firstly, it gives a glimpse of the musical practice in Ljubljana, where, beside the entertaining music practice, subscription concerts were offered as well. The second section, the most elaborated one, focuses on the Slovenian music production connected to the Great War in two respects: on the music for (and about) it, as well as on the musical practice based on the events of th

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8

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

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9

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

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10

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

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11

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

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

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12

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

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13

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

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14

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

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15

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

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16

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

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17

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

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18

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

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19

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

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20

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

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21

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

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22

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

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23

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

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

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24

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

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25

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

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During the course of the First World War, the generation of British authors known collectively as the War Poets revolutionized the popular culture of their time. Due to their changing attitudes towards armed conflict, their portrayal of war chaos included realist descriptions of life in the trenches, unusual choices of subject matter and an eventual challenge to the political and religious establishment of their time. Metal music, a genre with an inherent lyrical and musical concern about chaos and control, has crafted several songs inspired on the First World War poetry. This specific relatio

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26

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

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AbstractThis article examines curriculum and practice in Australian secondary classroom music education, in order to trace the inclusion of, and provision for, students with learning orientations based on popular music forms. A 60-year period of curriculum reform, matriculation statistics and literature is surveyed with a focus on the state of New South Wales (NSW), where the ‘non-literate’ student musician was first acknowledged in curriculum documents dating from the late 1970s at the senior secondary level (Music Syllabus Year 11 and 12: New 2 Unit A Course. Draft Document). Three overlappi

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27

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

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28

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

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29

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

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30

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

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Abstract This article sets out to bring sound and music to the field of visual studies in International Relations. It argues that IR largely has approached the visual field as if it was without sound; neglecting how audial landscapes frame and direct our interpretation of moving imagery. Sound and music contribute to making imagery intelligible to us, we ‘hear the pictures’ often without noticing. The audial can for instance articulate a visual absence, or blast visual signs, bring out certain emotional stages or subjects’ inner life. Audial frames steer us in distinct directions, they can mut

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31

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

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32

Allenby, David, Anton von Webern, Erich Wolfgang, et al. "Don't Mention the War?" Musical Times 137, no. 1845 (1996): 29. http://dx.doi.org/10.2307/1004308.

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33

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

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The monthly magazine Review of Music was published six times in Belgrade from January to June 1940. Each edition comprised thirty-two pages, half of which were devoted to a sheet-music supplement, popular compositions of the time for voice and piano. Review of Music published 222 articles and scores in total. The aim of the magazine was to popularise classical music, but it also encompassed jazz, films and film music, theatre, literature, fashion, and even sport. Review of Music was different from all other Serbian inter-war music magazines, not only because of its wide range of topics, but al

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34

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

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35

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

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36

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

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37

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

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

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38

Caballero, Carlo. "Patriotism or Nationalism? Fauré and the Great War." Journal of the American Musicological Society 52, no. 3 (1999): 593–625. http://dx.doi.org/10.2307/831793.

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Even though Gabriel Fauré's contemporaries championed his music as quintessentially French, Fauré distanced himself from policies of national exclusion in art, and his own construction of French musical style was cosmopolitan. This essay summarizes Fauré's political choices during the Great War, explains his motives, and indicates how some of his decisions affected French musical life. Fauré's outspoken preface to Georges Jean-Aubry's La Musique française d'aujourd'hui provides one key to the composer's position. Jean-Aubry, following Debussy, reckoned as authentically French only musical styl

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39

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

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This essay uses the Deleuzo-Guattarian concept of the war machine to develop a way of thinking about research-creation, following Erin Manning’s suggestion that the latter—as a hyphenated compound structure—can function as a knowledge-producing act on its own terms, as a ‘making as thinking’. After considering several examples of musical processes that exemplify this concept (as nomadic conjunctions with ‘State’ apparatuses that rearrange the latter as new knowledge-producing expressions), it engages two moments from Benjamin Boretz’s Language ,as a music as an example of an original expressio

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40

Wakeling, Dennis W. "War and Peace. Sergei Prokofiev." Opera Quarterly 7, no. 1 (1990): 227–30. http://dx.doi.org/10.1093/oq/7.1.227.

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41

Schaarwächter, Jürgen. ""as anti-war as possible"." Die Musikforschung 59, no. 2 (2021): 149–60. http://dx.doi.org/10.52412/mf.2006.h2.572.

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Offenbar setzte sich Britten mehr mit der Trauer um die Opfer von Gewalt als mit aktivem Pazifismus auseinander. An die Stelle der Anklage von Tätern oder des Aufrufs zu Gewaltverzicht tritt die humanistische Erinnerung an das Leider der Opfer. Nur selten bezog er offensiv Position. Dennoch musste er ebenso wie sein Partner Peter Pears seit 1942 mit Repressionen rechnen. Vor allem im Requiem, in der Befassung mit dem Tod und mit den Toten konzentrierte Britten seinen Pazifismus, sein Ablehnen jeglicher Gewalt. bms online (Autor; gekürzt)

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42

Mews, Stuart. "Music and Religion in the First World War." Studies in Church History 28 (1992): 465–75. http://dx.doi.org/10.1017/s0424208400012626.

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Listening to instrumental music has really become the only form of worship which is still possible to us.’ These words, said to have / been uttered by a distinguished Oxford philosopher, were quoted by Hastings Rashdall, then an Oxford theologian but later Dean of Carlisle, when he preached in Hereford Cathedral in connection with the Three Choirs Festival in 1912.’ Rashdall rejected the substitution of aesthetic appreciation in the concert hall for Christian worship because, he contended, it did not evoke any practical response. That he should have felt it necessary to stress this difference

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43

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

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The purpose of the study is a comprehensive analytical review of various sources that reveal the role of music in Krasnoyarsk by the outbreak of the war. A hypothesis: interdependence of cultural and social events and their mutual influence during a period of increased social tension could be observed. Methods. During the study the following research methods were applied: cultural-historical, axiological, continuous sampling, descriptive methods and elements of statistical research. Materials published on the pages of the Krasnoyarsk periodicals for 1937–1941, as well as scientific works about

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44

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

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A special chapter of research into the history of folk music in the time of the Austrian-Hungarian Monarchy was the Musikhistorische Zentrale (Music History Department) at the imperial royal Ministry of War. It was established during World War I, modelled on the Austrian Volksliedunternehmen (today Volksliedwerk). The Musikhistorische Zentrale wanted to collect all the soldiers’ songs, fanfares, military music, soldiers’ sayings, customs, jokes, letters and their expressions which are of historical and cultural significance. Bernhard Paumgartner (1887–1971), a musician and lawyer, had the idea

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45

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

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46

TYRE, JESS. "Music in Paris during the Franco-Prussian War and the Commune." Journal of Musicology 22, no. 2 (2005): 173–202. http://dx.doi.org/10.1525/jm.2005.22.2.173.

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ABSTRACT The years 1870––71 marked the beginning of dramatic changes in French political and cultural life. A few short months witnessed defeat to Germany in the Franco-Prussian War and the fall of the Second Empire, as well as the rapid rise of the Paris Commune and its subsequent violent suppression through the establishment of republican government. The Parisian musical world, while severely affected by the events of war and deprived of performers and audiences, did not come to a standstill. Indeed, these years ushered in a remarkable increase in the number of institutions and concert socie

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47

Bagarič, Alenka. "Musical Topography of the First World War in Slovenia." Musicological Annual 53, no. 2 (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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48

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

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This article focuses on the production of anti-Japanese music during World War II through the frameworks of popular culture, consumption, and propaganda and by analyzing the music itself, as well as lyrics and sheet music covers. Anti-Japanese music codified certain racial beliefs while distinguishing among Asian nationalities. Portraying Japan in racialized and gendered terms told Americans something about themselves and white male superiority. These musical images also demonstrated the dialogue between the music industry and its consuming audience. Publishers and composers tried to describe

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49

Sullivan, Jill M. "Women Music Teachers as Military Band Directors during World War II." Journal of Historical Research in Music Education 39, no. 1 (2017): 78–105. http://dx.doi.org/10.1177/1536600616665625.

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The purpose of this study was to determine how women music teachers became the United States’ first female military band directors. Interviews with seventy-nine World War II military bandswomen revealed that seven of the ten chosen female directors were music teachers prior to their enlistment in the Army, Coast Guard, or Marines—band and orchestra teachers, music supervisors, and a college professor. Six of those seven directors are included in this study. Research questions pertained to their childhood music education, formal schooling, music-teacher employment, why they quit teaching to enl

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50

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

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Purpose: The study explores the description of nurses serving with the US Army and the American Red Cross during World War I as described in a collection of sheet music. The purpose was to identify themes within the lyrics which describe how the nurse was viewed at the time.Background: Analyzing the description of nurses who served during World War I allows the present-day reader insight into how they were perceived by the soldiers they cared for and the public. The contrast between the two types of songs; those written from the point of view of the soldiers and songs written from the point of

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