Resources of American Music History: A Directory of Source Materials from Colonial Times to World War II

Notes ◽  
1982 ◽  
Vol 38 (3) ◽  
pp. 595
Author(s):  
Richard Jackson ◽  
D. W. Krummel ◽  
Jean Geil ◽  
Doris J. Dyen ◽  
Deane L. Root
Keyword(s):  
World War Ii ◽  
Music History ◽  
American Music ◽  
World War ◽  
Source Materials

Resources of American Music History: A Directory of Source Materials from Colonial Times to World War II

1983 ◽  
Vol 27 (1) ◽  
pp. 126
Author(s):  
Beverley Cavanagh ◽  
D. W. Krummel ◽  
Jean Geil ◽  
Doris J. Dyen ◽  
Deane L. Root
Keyword(s):  
World War Ii ◽  
Music History ◽  
American Music ◽  
World War ◽  
Source Materials

Maria Krzeczunowicz (1895-1945?). „Prawa ręka” gen. Tadeusza Bora-Komorowskiego – prolegomena

2021 ◽  
pp. 355-378
Author(s):  
Renata Król-Mazur
Keyword(s):  
World War Ii ◽  
World War ◽  
The South ◽  
Right Hand ◽  
Starting Point ◽  
The Right ◽  
Source Materials

MARIA KRZECZUNOWICZ (1895-1945?) – “THE RIGHT HAND” OF GENERAL TADEUSZ BÓR-KOMOROWSKI – PROLEGOMENA The aim of the work is to outline the figure of Maria Krzeczunowicz (aka “Dzidzia”, “Dzidzi”, “Wanda”, “Roma”, “Maria Rzewuska”, “Maria Piotrowska”), a landowner who during World War II rendered great services to the Home Army of the Kraków Area, as well as to the courier activity in the “South” section. The author focuses on presenting her underground work in the country (ZWZ-AK Kraków Area) and in the ZWZ-AK foreign military contact base in Budapest. The article outlines her activities as an emissary and courier. A hypothesis was put forward about the possible cooperation of M. Krzeczunowicz with British intelligence. Unfortunately, due to the pandemic situation at the time of writing this text and the related limitations in the availability of source materials, it was not possible to fully describe the figure of this wonderful woman. The author had to be limited to only providing a biographical outline – many issues were not touched at all or only signalled. Therefore, this work is a starting point for further, in-depth research on the biography of one of the most trusted associates of Gen. Tadeusz Bór-Komorowski and at the same time the most trusted courier of the Polish independence underground.

scholarly journals Prescribing Sound: Willem Van de Wall and the Carceral Origins of American Music Therapy

2020 ◽  
Vol 3 (2-3) ◽  
pp. 109-132
Author(s):  
J. Martin Vest
Keyword(s):  
World War Ii ◽  
Music Therapy ◽  
Social Control ◽  
Psychiatric Hospitals ◽  
American Music ◽  
World War ◽  
Self Help ◽  
Psychiatric Institutions ◽  
Class Hierarchies ◽  
Bourgeois Modernity

From 1921 until 1936, musician Willem Van de Wall pioneered the modern use of therapeutic music in American prisons and psychiatric institutions. His therapy was steeped in the methods and philosophy of social control, and after World War II, it shaped the professionalizing field of music therapy. Van de Wall's influence reveals an overlooked connection between modern clinical practice and the techniques of control employed in prisons and psychiatric hospitals of the early twentieth century. Given music therapy's broader impact as an element of postwar self-help culture, its relationship to social control practices also disrupts longstanding scholarly ideas about the so-called “therapeutic ethos.” The therapeutic ethos did not originate solely in efforts by the middle classes to adjust to bourgeois modernity. The case of music therapy suggests that some elements of “therapeutic culture” were always coercive and always directed toward the maintenance of race, gender, and class hierarchies.

Latin/Pan-American Music

2020 ◽  
pp. 172-192
Author(s):  
Pablo Palomino
Keyword(s):  
World War Ii ◽  
Latin American ◽  
Educational Practice ◽  
The United States ◽  
American Music ◽  
World War ◽  
Latin American Music ◽  
Pan American ◽  
Charles Seeger ◽  
Latin Americanism

This chapter explains the pan-American absorption of Latin Americanism during World War II and the inception of the “world music” discourse that led to the creation of UNESCO. It focuses on the work of Charles Seeger as director of the Pan American Union’s Music Division from the years leading to the United States entry into the war to the immediate postwar years. The chapter analyzes a host of actors and initiatives, by the Pan American Union and other music-related associations, that influenced the consolidation of Latin American music and inter-Americanism as fields of musicological and educational practice. It illuminates the place of Latin American music in the convergence of nationalist traditions, hemispheric rhetoric, and global horizons among musicological and diplomatic actors as World War II came to an end.

Birdsong and the Image of Evolution

2009 ◽  
Vol 17 (3) ◽  
pp. 206-223 ◽  
Author(s):  
Rachel Mundy
Keyword(s):  
World War Ii ◽  
Music History ◽  
World War ◽  
Graphic Image ◽  
The 1950S ◽  
Human Ear ◽  
And Linguistics ◽  
Descent Of Man

AbstractFor nearly a quarter of Darwin's Descent of Man (1871), it is the singing bird whose voice presages the development of human aesthetics. But since the 1950s, aesthetics has had a perilous and contested role in the study of birdsong. Modern ornithology's disillusionment with aesthetic knowledge after World War II brought about the removal of musical studies of birdsong, studies which were replaced by work with the sound spectrograph, a tool that changes the elusive sounds of birdsong into a readable graphic image called a spectrogram. This article narrates the terms under which the image, rather than the sound, of birdsong has become a sign of humanity's ability to reason objectively. Drawing examples from the strange evolutionary tales that exist at the juncture of ornithology, music history, illustration, and linguistics, this story suggests how it was that the human ear disappeared in the unbridgeable gap between the sciences and the study of aesthetics so tellingly termed "the humanities."

Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956

2000 ◽  
Vol 53 (1) ◽  
pp. 105-139 ◽  
Author(s):  
Amy C. Beal
Keyword(s):  
World War Ii ◽  
Cold War ◽  
Cultural Politics ◽  
English Translation ◽  
American Music ◽  
Experimental Music ◽  
West Germany ◽  
World War ◽  
Catalytic Role

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 Ferienkurse lecture "American Experimental Music" is included as an appendix.

Oral History as a Method: Variants of Remembering World War II in Slovenia, Serbia, and Bosnia-Herzegovina

2008 ◽  
Vol 34-35 (1-2) ◽  
pp. 245-265
Author(s):  
Sabine Rutar
Keyword(s):  
World War Ii ◽  
Oral History ◽  
General Framework ◽  
World War ◽  
History And Memory ◽  
Memory Research ◽  
General Overview ◽  
Memory Source ◽  
Post War ◽  
Source Materials

This article provides a general overview of research on, and the construction of, the memory of World War II in socialist Yugoslavia and its successor states, focusing on Slovenia, Serbia, and Bosnia-Herzegovina, with the intent of placing this topic in the general framework of oral history and memory research. At the center of attention is the question of how the memories of eyewitnesses have been possibly shaped, altered, and conditioned by their post-war socialization, and how this shaping, altering, and conditioning might be allowed for when interpreting memory source materials.

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