Introduction

2021 ◽  
pp. 1-26
Author(s):  
Katharine Ellis
Keyword(s):  
World War Ii ◽  
Boiler House ◽  
World War ◽  
Musical Life ◽  
Music Competition ◽  
Geographical Patterns ◽  
French Music ◽  
Music Making ◽  
Archival Source ◽  
Key Terms

A folk-music competition of 1895 sets the scene for an exploration of the problem of French music historiography in relation to the provinces between the 1830s and World War II. Key terms (“decentralization,” “deconcentration,” “regionalism”) are defined and explained in relation to Republican concepts of cultural unity that long discouraged regional difference in music and reinforced the soft and hard power of the capital as the nation’s cultural boiler house: power relations turned the provinces into an “internal exotic,” but the “colonies” of mainland France had their own often distinctive local dynamics relating to professional and amateur music-making. The narrative arc of the book is sketched out: from the dynamics of provincial musical life to the challenges of musical regionalism as it manifests in new composition. Finally, methodological reflections are offered on the project’s archival source-base, on the problematic ephemerality of musical life as a subject of diachronic musicological study, on music as an object of local memorialization, and on the geographical patterns of both decentralist and regionalist French musical life as showing particular density at the edges at the expense of the center.

scholarly journals Style and ideology: The cold war 'blend' in Greece

Muzikologija ◽  
2008 ◽  
pp. 55-63
Author(s):  
Keti Romanu
Keyword(s):  
World War Ii ◽  
Cold War ◽  
Cultural Policy ◽  
American Culture ◽  
Western World ◽  
World War ◽  
Musical Life ◽  
Iannis Xenakis ◽  
Western Countries ◽  
The Cold War

This paper describes cultural policy in Greece from the end of World War II up to the fall of the junta of colonels in 1974. The writer's object is to show how the Cold War favoured defeated Western countries, which participated effectively in the globalisation of American culture, as in the Western world de-nazification was transformed into a purge of communism. Using the careers of three composers active in communist resistance organizations as examples (Iannis Xenakis, Mikis Theodorakis and Alecos Xenos), the writer describes the repercussions of this phenomenon in Greek musical life and creativity.

scholarly journals Sounding the Tricolore: France and the United States during World War ii

2017 ◽  
Vol 16 (1-2) ◽  
pp. 9-21
Author(s):  
Annegret Fauser
Keyword(s):  
United States ◽  
World War Ii ◽  
Identity Politics ◽  
The United States ◽  
World War ◽  
Musical Identity ◽  
Pelleas Et Melisande ◽  
French Music ◽  
French Composers ◽  
Global War

During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus on three aspects of this complex story of cultural mediation: the reception and adaptation of Claude Debussy’s music, especially Pelléas et Mélisande; American cultural artifacts representing France, such as the 1943 motion picture Casablanca; and the role of French composers and performers in the United States during the war.

Introduction—Music and Identity

2017 ◽  
Author(s):  
Philip M. Gentry
Keyword(s):  
Social Movements ◽  
World War Ii ◽  
Performance Studies ◽  
World War ◽  
Social Scientists ◽  
Music Making ◽  
Key Concepts ◽  
Large Growth ◽  
Music And Identity ◽  
Musical Styles

This first chapter of the book introduces its key concepts. The term “identity” became popularized after World War II, thanks to social scientists attempting to describe new modes of self-fashioning. At the same time, large social movements began to coalesce around the concert, and simultaneously, there was a large growth in new musical styles and institutions. Rather than impose larger abstract theories, the book’s methodology is to examine individual scenes of music-making, asking how individuals made use of the concept of identity, especially in political terms. A more holistic notion of music, drawn from the discipline of performance studies, allows the book to make connections between often disparate strategies.

Introduction

2017 ◽  
Author(s):  
Rachel Galvin
Keyword(s):  
World War Ii ◽  
Spanish Civil War ◽  
Gertrude Stein ◽  
Critical Distance ◽  
Wallace Stevens ◽  
Marianne Moore ◽  
World War ◽  
Cesar Vallejo ◽  
Raymond Queneau ◽  
Key Terms

The introduction examines the effects of the prevalent idea that civilian poets, in comparison with veteran writers, lack legitimacy in writing about war. It demonstrates that this apparent impediment in fact generated a significant civilian poetics during the Spanish Civil War and World War II. This argument is based on analysis of the work of an international set of poets writing in English, Spanish, and French who made use of self-reflexive rhetoric as they engaged with news of war: W. H. Auden, César Vallejo, Wallace Stevens, Raymond Queneau, Marianne Moore, and Gertrude Stein. After setting out the book’s key terms and claims, the introduction outlines the essential yet under-researched relationship between civilian poetics and forms of the news. It closes with a discussion of the ethical demands placed upon poetry in wartime and considers some ways that civilian poems urge readers to take critical distance from war culture.

Introduction

2021 ◽  
pp. 1-20
Author(s):  
Andrew Dean
Keyword(s):  
World War Ii ◽  
The Self ◽  
Recent Criticism ◽  
The Novel ◽  
World War ◽  
Literary Value ◽  
Philosophical Discourse ◽  
The Public ◽  
Political Communities ◽  
Key Terms

This chapter both gives an account of the critical treatment of post-World War II metafiction and introduces the key terms that guide the book. The existing critical debates about postwar metafiction have tended to emphasize metafiction’s incorporation of critical and philosophical discourse, and have suggested that it either makes the novel newly responsible to political communities or disables literature from intervening into political situations. More recent criticism based on literary institutions has tended to overlook key questions of literary value. The terms the chapter develops to renew discussion about postwar metafiction are ‘self of writing’ and ‘public author as signature’. These terms are derived from a reading of Miguel de Cervantes’s Don Quixote and J. L. Borges’s ‘Borges and I’. The self of writing refers to the figure of the author that a writer may imagine exists independent of discourse. The public author as signature represents the public understandings of an author that emerge from biography and the author’s corpus itself.

Introduction

2019 ◽  
pp. 1-15
Author(s):  
Simon Peplow
Keyword(s):  
World War Ii ◽  
Legal System ◽  
Collective Violence ◽  
World War ◽  
Perceived Importance ◽  
History Of ◽  
Key Terms ◽  
Black Britons

This introductory chapter introduces the main themes of the book, which locate the anti-police collective violence that spread throughout England in 1980–1 within a longer struggle against racism and disadvantage faced by black Britons that had seen a growth in more militant forms of resistance since World War II. This chapter provides introductory overviews of the existing literature related to race and immigration, collective violence, spread of disorder, and the disturbance of 1980–1 themselves. The history of public inquiries is briefly examined, demonstrating their perceived importance within the British legal system and initiating discussion of why they have proven controversial. The chapter ends with a note on the work’s use of a number of key terms, and a brief overview of the book’s structure.

Representing the Authentic from Japanese American Perspectives

2019 ◽  
pp. 276-316
Author(s):  
W. Anthony Sheppard
Keyword(s):  
World War Ii ◽  
Cold War ◽  
Los Angeles ◽  
Japanese American ◽  
World War ◽  
Musical Life ◽  
Big Band ◽  
Musical Exoticism ◽  
Franz Waxman ◽  
The Cold War

This chapter explores the career of Japanese American composer and arranger Tak Shindo (1922–2002). Shindo grew up nisei in Los Angeles. Japanese American musical life is discussed with a focus on the community’s 1933 production of Sakura composed by Claude Lapham in the Hollywood Bowl. Interned at Manzanar during World War II, Shindo began musical studies through the camp’s programs. Although devoted to Latin jazz, he repeatedly served during the Cold War as a Japanese musical advisor for such Hollywood composers as Franz Waxman and Max Steiner (Sayonara, Cry for happy, and A majority of one). Several of his 1950s and 60s albums—combining elements of Japanese music with the big band style—were successful in the exotica genre. Shindo’s self-Orientalism is compared with the musical exoticism of Martin Denny. A brief discussion of subsequent Japanese American jazz follows. The chapter concludes with a profile of the composer Paul Chihara.

FROM RUSSIA TO THE UK AND BACK ACROSS THE ENGLISH CHANNEL: MUSICAL DISCOVERIES FROM WWII AND THE THAW (recent archival findings and publications)

2020 ◽  
Vol 1 (1) ◽  
pp. 78-85
Author(s):  
E. A. Artamonova ◽  
Keyword(s):  
World War Ii ◽  
Soviet Period ◽  
English Channel ◽  
World War ◽  
Musical Life ◽  
Russian Music ◽  
Musical Works ◽  
The Uk ◽  
Thaw Period ◽  
Good Number

Russian music enjoyed its popularity and appreciation among British audiences throughout the twentieth century. Musical life in London during the period of World War II was infused with a good number of concert programmes. The finest works of national composers of the tsarist Russia were performed along with musical works of the Soviet period regardless of their stylistic peculiarities as well as of the approved or disapproved states of their authors with the Soviet authorities. They laid a fine foundation for an active musical interchange between musicians of both countries formed at the turn of the Khrushchev Thaw period, when the ‘crème de la crème’ of Soviet performers stepped on British soil and British performers toured Russia in the early 1950s. It was down to personal contacts of enthusiastic musicians, rather than only those signed on a governmental level known as the Soviet-British Cultural Agreement of 1959, for example, that did maintain the initiatives and musical collaborations. The concert activities and correspondence of Vadim Borisovsky with his British colleagues, which started much earlier, is the best example in this regard. The discussion of these topics relies heavily on recent archival findings from Moscow and London.

Music and Ideology: Musical School in Rezekne after World War II

2015 ◽  
pp. 22
Author(s):  
Valda Čakša
Keyword(s):  
World War Ii ◽  
Historical Analysis ◽  
External Factors ◽  
World War ◽  
Musical Life ◽  
Music School ◽  
Musical Education ◽  
Secondary Music ◽  
Music Acquisition ◽  
The One

The aim of the article is to reflect the processes and problems of musical education renewal, which the teachers of Rezekne Secondary Music School faced under the circumstances of sovietisation, by evaluating to what extent the old elite (pre-war elite of National Conservatory) could adapt to the new circumstances and to what extent it was allowed by the regime. The article is based on the historical analysis of a discourse by evaluating the texts of documents available in the archives and identifying the dominant circumstances under which they have been created. In order to evaluate the principles of ideology influence and formation of social reality, the author compares the texts of the documents and conclusions found there with the opinions of representatives from various scientific areas on the features of musical life in that period of time. During the research, the author established that, on the one hand, the external factors and those, which are subjected to ideology, characterize the activity of the school; however, on the other hand, there are also the internal, as well as determined and retained factors of traditional requirements of music acquisition.

French Musical Life

2021 ◽  
Author(s):  
Katharine Ellis
Keyword(s):  
World War Ii ◽  
Folk Music ◽  
Life Stage ◽  
Local Color ◽  
Musical Life ◽  
French Music ◽  
National Division ◽  
Funding Mechanisms ◽  
Compositional Styles ◽  
The One

This book is a study of French musical centralization and its discontents during the period leading up to and beyond the “provincial awakening” of the Belle Époque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so, it redraws the historical map of musical power relations in France. Based on work in more than seventy archives, chapters on conservatoires, concert life, stage music, folk music, and composition reveal how tensions of state and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different town councils, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into “local color” for officials who perpetually feared national division. Controlling composition, on the one hand, and the emotional intensity of folk-based musical experience, on the other, emerges as a matter of consistent official praxis. In terms of “French music” and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.

Sign in / Sign up

Export Citation Format

Share Document