Soldiers’ Song

2017 ◽  
Author(s):  
Todd Decker
Keyword(s):  
World War Ii ◽  
Popular Music ◽  
Country Music ◽  
First Century ◽  
War Films ◽  
Soul Music ◽  
Class Differences ◽  
The Rich ◽  
The 1960S ◽  
Racial Mix

The use of popular music in post-Vietnam Hollywood war films has varied depending on the war being depicted. Swing, the popular music of World War II, goes almost entirely unrepresented in films depicting that war. Films about Vietnam have exploited the rich resource of popular music from the 1960s to characterize significant racial and class differences among American soldiers, typically pitting black Motown and soul music against white country music. Draft scripts for Apocalypse Now reveal how that film might have used late 1960s rock to emphasize the pathological nature of the American effort in Vietnam. Popular music in films about the all-volunteer, post-hip hop military suggest that racial tensions have abated, with a racial mix of soldiers enjoying a variety of musics. Films about twenty-first-century soldiers have almost no popular music, eliding well-documented practices of contemporary soldiers and denying civilian audiences potential points of connection by way of popular culture.

Metered

2017 ◽  
Author(s):  
Todd Decker
Keyword(s):  
World War Ii ◽  
Extreme Case ◽  
First Century ◽  
War Films ◽  
Film Scores ◽  
Thin Red Line ◽  
Green Zone ◽  
Fathers And Sons ◽  
The Military ◽  
Red Line

Having set aside the military march, serious post-Vietnam war films have explored other strongly metrical musics. Three World War II films have turned to triple-meter, or waltz-time, themes. Band of Brothers and Flags of Our Fathers alike use tuneful waltz-time music to support a sentimental transgenerational agenda linking fathers and sons. The Thin Red Line supports the philosophical ruminations of soldiers with a group of triple-meter melodies that create a zone of quiet reflection. Twenty-first-century war films use beat-driven music to excite the audience physically and also to characterize new sorts of soldierly action—such as work at a computer—as exciting combat action. Beat-driven combat film scores for Black Hawk Down, United 93, and Green Zone are compared. Finally, an extended combat sequence from The Thin Red Line scored to a stately ostinato musical cue is considered as an extreme case of music taking the place of diegetic sound.

‘Illiterate’ musicians: an historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms

2019 ◽  
Vol 36 (02) ◽  
pp. 155-171 ◽  
Author(s):  
Christine Carroll
Keyword(s):  
World War Ii ◽  
Music Education ◽  
Popular Music ◽  
Curriculum Reform ◽  
School Curriculum ◽  
Secondary Classrooms ◽  
Western Art ◽  
1960S And 1970S ◽  
The 1960S ◽  
Senior Secondary

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

‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music

Popular Music ◽  
2000 ◽  
Vol 19 (3) ◽  
pp. 293-318 ◽  
Author(s):  
Alexander Stewart
Keyword(s):  
New York ◽  
World War Ii ◽  
Popular Music ◽  
New Orleans ◽  
World War ◽  
Related Development ◽  
American Popular Music ◽  
Rock N Roll ◽  
The 1960S ◽  
Reverse Development

The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little analysis of the reverse development – the change back to ‘straighter’ rhythms. The earliest forms of rock 'n' roll, such as the R&B songs that first acquired this label and styles like rockabilly that soon followed, continued to be predominantly in shuffle rhythms. By the 1960s, division of the beat into equal halves had become common practice in the new driving style of rock, and the occurrence of 12/8 metre relatively scarce. Although the move from triplets to even eighths might be seen as a simplification of metre, this shift supported further subdivision to sixteenth-note rhythms that were exploited in New Orleans R&B and funk.

POPULAR MUSIC OF THE GREEK WORLD: A NOTE FROM THE ORGANISERS

2020 ◽  
Vol 115 ◽  
pp. 401-402
Author(s):  
Roderick Beaton ◽  
John Bennet ◽  
Eleni Kallimopoulou ◽  
Panagiotis Poulos ◽  
Chris Williams
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
New Wave ◽  
Rich Variety ◽  
British School ◽  
The Rich ◽  
The 1960S ◽  
Local Traditions ◽  
International Success ◽  
Greek World

In May 2019 the British School at Athens hosted an international conference on popular music of the Greek world. The conference aimed to explore and evaluate the diversity of Greek music apparent in the rich variety of local traditions and in the richness of urban popular music both established and emerging, and to examine its causes from broader musical, sociological and artistic perspectives. Rather than focus on particular forms, such as traditional folk music, rebetika, or the ‘new wave’ of the 1960s exemplified by the international success of composers such as Hadjidakis and Theodorakis, the conference set out to situate these traditions in a broader Greek context and also an explicitly international one, in this way building upon a growing trend (Bucuvalas 2019; Tragaki 2019).

scholarly journals The country and Irish problem

Popular Music ◽  
2020 ◽  
Vol 39 (3-4) ◽  
pp. 568-584
Author(s):  
Stan Erraught
Keyword(s):  
Popular Music ◽  
Country Music ◽  
List Type ◽  
Type Number ◽  
Academic Literature ◽  
National Characteristics ◽  
Irish Music ◽  
The Face ◽  
The Subject ◽  
The 1960S

AbstractCountry music has been popular in Ireland since the 1960s, most notably in the work of homegrown performers. Despite the durability of this appeal in the face of huge changes in Ireland and in the Irish music industry over a half-century, it remains curiously underexamined in the literature on Irish popular music. In this paper, I wish to argue the following: (1)Country music did not simply arise ‘naturally’ in Ireland as a reflection of musical or national characteristics: it was promoted as such.(2)Both popular and academic literature on the subject have tended to unreflectively echo the narrative that was introduced alongside the music in order to fix its audience.(3)In so doing, the literature reproduces a set of anxieties about modernity as it arrived in Ireland, about the postcolonial condition and about authenticity, even as it attempts to locate Irish popular music within these concerns.

Introduction: A Quick History of the Present

2020 ◽  
pp. 1-18
Author(s):  
Jonathan Hopkin
Keyword(s):  
First Century ◽  
The Political ◽  
Political Scientist ◽  
Racial Hatred ◽  
Liberal Democratic ◽  
Long Time ◽  
History Of ◽  
The Rich ◽  
The 1960S

This introductory chapter provides a background of anti-system politics. The term “anti-system” was coined by political scientist Giovanni Sartori in the 1960s to describe political parties that articulated opposition to the liberal democratic political order in Western democracies. The reasons for the rise in anti-system politics are structural, and have been a long time brewing. The success of anti-system parties forces us to ask fundamental questions about the nature of the political and economic system, and the way in which the twenty-first-century market economy affects people’s lives. Rather than dismissing anti-system politics as “populism,” driven by racial hatred, nebulous foreign conspiracies, or an irrational belief in “fake news,” people need to start by understanding what has gone wrong in the rich democracies to alienate so many citizens from those who govern them.

Systemic Influences on PTA Formation

2012 ◽  
Author(s):  
Edward D. Mansfield ◽  
Helen V. Milner
Keyword(s):  
World War Ii ◽  
Balance Of Power ◽  
Strategic Interaction ◽  
First Century ◽  
World War ◽  
Global Business ◽  
Systemic Factors ◽  
Preferential Trading Arrangements ◽  
The 1960S ◽  
Over Time

This chapter examines international influences on preferential trading arrangements (PTAs). Both the incidence of PTA formation and the frequency with which states have entered such arrangements have varied over time. After World War II, few agreements were established until the 1960s, at which time there was an uptick in the creation of PTAs that lasted until the mid-1970s. For the next fifteen years or so, relatively few PTAs were formed. During the 1990s, however, states flocked to join these agreements, a trend that has continued into the twenty-first century. The chapter examines four systemic factors that previous studies have linked to these outcomes: hegemony, strategic interaction among both states and PTAs, the global business cycle, and changes in the global balance of power. It also addresses whether the number of democracies worldwide has affected PTA formation and accession. Finally, it considers the effects of features of the GATT/WTO on these outcomes.

The Strangers in Our Midst

2021 ◽  
Author(s):  
Ulrike Elisabeth Stockhausen
Keyword(s):  
World War Ii ◽  
Republican Party ◽  
Undocumented Immigrants ◽  
First Century ◽  
Southeast Asian Refugees ◽  
Political Choices ◽  
American Society ◽  
The 1960S ◽  
Political Alignment ◽  
Evangelical Theology

The Strangers in Our Midst tells the story of how American evangelicals have responded to refugees and immigrants—ranging from the Cuban refugee influx in the 1960s, to Southeast Asian refugees in the 1980s, to undocumented immigrants from Latin America in the 1990s and 2000s. Evangelical Christians have been a pillar of US immigration and refugee policy since the end of World War II in two key ways: by acting as refugee sponsors and by offering legalization assistance to undocumented immigrants. They developed an elaborate evangelical theology of hospitality, which emphasized scriptural commands to “welcome the stranger.” Initially, evangelicals did not distinguish between legal immigrants and refugees and “illegal,” undocumented immigrants. However, a growing anti-immigrant consensus in American society at large and their political alignment with the Republican Party caused them to shed their welcoming approach to immigrants in the 1990s. Evangelicals were now divided in their stances on immigration, as conservative evangelicals viewed only legal immigrants as deserving of their aid, while progressive evangelicals—led by their Latinx coreligionists—emphasized the need for Christians to help all immigrants. In the twenty-first century, a group of Latinx evangelical leaders resurrected and reshaped the evangelical theology of hospitality in an effort to turn the tide in the evangelical debate on immigration. The results are mixed: unprecedented numbers of evangelicals favor a pathway to citizenship for undocumented immigrants. Yet as the 2016 presidential election showed, this preference had no impact on their political choices.

Ken Russell's Wartime Imagery

2015 ◽  
Vol 12 (4) ◽  
pp. 539-555 ◽  
Author(s):  
Kevin M. Flanagan
Keyword(s):  
Second World War ◽  
World War ◽  
War Films ◽  
Personal Style ◽  
American Cinema ◽  
1960S And 1970S ◽  
The 1960S ◽  
Second World ◽  
Wartime Experience ◽  
National Experience

This article traces Ken Russell's explorations of war and wartime experience over the course of his career. In particular, it argues that Russell's scattered attempts at coming to terms with war, the rise of fascism and memorialisation are best understood in terms of a combination of Russell's own tastes and personal style, wider stylistic and thematic trends in Euro-American cinema during the 1960s and 1970s, and discourses of collective national experience. In addition to identifying Russell's recurrent techniques, this article focuses on how the residual impacts of the First and Second World Wars appear in his favoured genres: literary adaptations and composer biopics. Although the article looks for patterns and similarities in Russell's war output, it differentiates between his First and Second World War films by indicating how he engages with, and temporarily inhabits, the stylistic regime of the enemy within the latter group.

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