Ferruccio Busoni, the Boston Symphony Orchestra, and the Impact of Anti-Germanismus around World War I

2020 ◽  
Vol 38 (3) ◽  
pp. 303
Author(s):  
Knyt
Keyword(s):  
World War I ◽  
Symphony Orchestra ◽  
World War ◽  
Ferruccio Busoni ◽  
Boston Symphony Orchestra ◽  
The Impact

Taking the German Muse out of Music: The Chronicle and US Musical Opinion in World War I

2020 ◽  
Vol 14 (2) ◽  
pp. 141-175
Author(s):  
E. DOUGLAS BOMBERGER
Keyword(s):  
New York ◽  
World War I ◽  
Symphony Orchestra ◽  
The United States ◽  
Arts Organizations ◽  
World War ◽  
The Public ◽  
News Stories ◽  
Boston Symphony Orchestra ◽  
First Time

AbstractThe case of conductor Karl Muck and the Boston Symphony Orchestra during World War I is notorious for its combination of nationalist patriotism and opposition to international influence on US concert organizations. Although it seemed on the surface to be a spontaneous uprising against a foreign musician who refused to play “The Star-Spangled Banner,” the public outcry against Muck was part of a larger campaign orchestrated by a shadowy propaganda magazine named The Chronicle, published in New York from March 1917 to November 1918. This journal was marketed to the United States’ wealthy elite and was available to subscribers by invitation only. By strategic publication of fake news stories and xenophobic opinion pieces, editor Richard Fletcher spread fear and suspicion through the most rarefied strata of US society. The journal was instrumental in blacklisting suspicious arts organizations and fomenting prejudice against enemy aliens. This article examines for the first time the role of this magazine in the banning of German-language operas at the Met, the internment of Muck, and the near-elimination of German repertoire from US orchestral programs.

Loathsome Deutschtum?

2021 ◽  
pp. 239-264
Author(s):  
Julie Hubbert
Keyword(s):  
World War Ii ◽  
World War I ◽  
Automobile Industry ◽  
Symphony Orchestra ◽  
The United States ◽  
American Democracy ◽  
World War ◽  
National Socialist ◽  
Integral Role ◽  
The Will

Much has been said about the Nazi appropriation of Wagner’s music in the 1930s and 1940s. As early as 1933, Hitler transformed the Bayreuth Festival into a celebration of National Socialist ideology and propagated miniature Wagner festivals to celebrate his own birthday. Wagner’s music also resounded throughout the culture and media at large. What has been less understood and examined, however, is how this same music was also used in nonnarrative films, newsreels, government documentaries, and industrial and advertising films of the period. Here the appropriation of Wagner is more complex and problematic. Master Hands (1936), the critically acclaimed, feature-length industrial film sponsored by the American car company Chevrolet, is an excellent example. As several film scholars have observed, the film is an artistic advertisement for the American automobile industry that borrows heavily from Riefenstahl’s Triumph of the Will. But the film’s score, a compilation full of Wagner excerpts, arranged by composer Samuel Benavie and performed by the Detroit Symphony Orchestra, about which almost nothing has been said, is equally propagandistic. By examining the music for this industrial advertisement for Chevrolet, this chapter not only re-examines the reception of Wagner in the United States between the World War I and World War II but also examines the integral role his music played in the creation of American films of persuasion. It explores the use U.S. industrial filmmakers made of Wagner’s music as an audible signifier not for German fascism but to advertise for American democracy, industry, and capitalism.

The Great War of the Postcards

2021 ◽  
Vol 88 (3) ◽  
pp. 525-568
Author(s):  
Johann Strauss
Keyword(s):  
Middle East ◽  
World War I ◽  
Great War ◽  
World War ◽  
The Balkans ◽  
Book Illustrations ◽  
Characteristic Features ◽  
The Impact ◽  
The Great War

This article examines the functions and the significance of picture postcards during World War I, with particular reference to the war in the Ottoman Lands and the Balkans, or involving the Turkish Army in Galicia. After the principal types of Kriegspostkarten – sentimental, humorous, propaganda, and artistic postcards (Künstlerpostkarten) – have been presented, the different theatres of war (Balkans, Galicia, Middle East) and their characteristic features as they are reflected on postcards are dealt with. The piece also includes aspects such as the influence of Orientalism, the problem of fake views, and the significance and the impact of photographic postcards, portraits, and photo cards. The role of postcards in book illustrations is demonstrated using a typical example (F. C. Endres, Die Türkei (1916)). The specific features of a collection of postcards left by a German soldier who served in Turkey, Syria, and Iraq during World War I will be presented at the end of this article.

From Multi-Industry Planning to Keynesian Planning: Gardiner Means, the American Keynesians, and National Economic Planning at the National Resources Committee

1990 ◽  
Vol 2 (2) ◽  
pp. 186-212 ◽  
Author(s):  
Frederic S. Lee
Keyword(s):  
World War I ◽  
Economic Planning ◽  
World War ◽  
National Planning ◽  
National Economic ◽  
Basic Characteristics ◽  
American Society ◽  
Industry Planning ◽  
The Impact ◽  
American Economy

In recent years we have witnessed a revival of interest in the National Resources Committee (NRC) and its work on national planning. The research shows that the roots of national planning at the NRC are found in the Progressive Era, when individuals sought, through city, regional, and economic planning, to bring order to American society, in the government's management of the economy during World War I, and in Hoover's attempt at macromanagement of the economy. The research also shows that national economic planning, as distinct from other forms of planning, was an important component of the committee's work. In regard to this, researchers have acknowledged that Gardiner Means, as director of the Industrial Section of the Industrial Committee and author of The Structure of the American Economy, Part I: Basic Characteristics, was an important and outspoken advocate of economic planning within the NRC, but they have been less clear as to his specific contributions to economic planning. Moreover, the researchers have not extensively investigated the NRC position toward national economic planning, the economic models from which national economic plans would be developed, and the impact of the Keynesian revolution on the NRC approach to national economic planning. These omissions are not surprising inasmuch as neither Warken's (1979) nor Clawson's (1981) general coverage of the NRC provided much more than a brief and superficial description of the Industrial Section and a listing of its most important publications. Kalish (1963), on the other hand, discussed Means and the Industrial Section in more depth but in such a disjointed manner that it is impossible to grasp the movement toward economic planning that took place in the NRC and the important role Means played in the process. Finally, neither Chapman's (1981 and 1983) nor Jeffries's (1987) discussions of the impact of the Keynesian revolution on the activities of the NRC dealt specifically with its impact on Means's work on economic planning.

scholarly journals Sprawy polskie w Kanadzie w czasie I wojny światoweJ

2020 ◽  
Vol 46 (2 (176)) ◽  
pp. 227-245
Author(s):  
Anna Reczyńska
Keyword(s):  
North America ◽  
World War I ◽  
Ethnic Group ◽  
Lake Ontario ◽  
World War ◽  
Training Camp ◽  
The Us ◽  
The Impact

Polish Issues in Canada During World War I The article presents the impact of World War I on Polish immigrants in Canada, the position of the Polish ethnic group in this country and the efforts of persons of Polish descent in regard to recruitment for the Polish Army in North America. Poles, who were subjects of Germany or the Austro-Hungarian Empire were treated as enemy aliens. Those people were forced to register and report to the police on a regular basis and some of them were interned in labour camps during the war. Some were released from the camps after an intervention of Polish organizations and priests. Soldiers of Polish descent, volunteers and recruits also fought in the Canadian Expeditionary Forces in Europe. Over 20,000 Polish volunteers from the US (including over 200 from Canada) enrolled in a training camp formed in Niagara-on-the-Lake, Ontario on the border with the US. The problems with the organization and functioning of the camp, and opinions on Polish volunteers shaped the attitude of many Canadians towards the Polish diaspora and the newly established Polish state. Keywords: World War I, Polish Diaspora in Canada, Niagara-on-the-Lake camp, Haller’s Army, Colonel Arthur D’Orr LePan Streszczenie Artykuł przedstawia kilka przykładów obrazujących oddziaływanie wydarzeń I wojny światowej na żyjących w Kanadzie polskich imigrantów, pozycję polskiej grupy etnicznej w tym kraju oraz na aktywność osób polskiego pochodzenia na rzecz rekrutacji do wojska polskiego w Ameryce Północnej. Polaków, którzy byli poddanymi Niemiec lub monarchii austro-wegierskiej traktowano jak przedstawicieli państw wrogich. Mieli obowiązek rejestracji i regularnego zgłaszania się na policję a niektórzy zostali internowani w stworzonych w czasie wojny obozach pracy. Część z nich była z tych obozów zwolniona po interwencji polskich organizacji i polskich duchownych. Żołnierze polskiego pochodzenia, zarówno ochotnicy jak i poborowi, znaleźli się także w oddziałach Kanadyjskich Sił Ekspedycyjnych walczących w Europie. Ponad 20 tys. polskich ochotników z USA (w tym ponad 200 z Kanady) zgłosiło się też do obozu szkoleniowego utworzonego w Niagara-on-the-Lake, Ontario, przy granicy z USA. Problemy z organizacją i funkcjonowaniem tego obozu oraz opinie o polskich ochotnikach, kształtowały nastawienie wielu Kanadyjczyków do polskiej grupy etnicznej i nowotworzonego Państwa Polskiego.

Black Song, Dance, and Theater in pre-World War I New York City

2021 ◽  
Author(s):  
David Gilbert
Keyword(s):  
New York ◽  
New York City ◽  
World War I ◽  
York City ◽  
Musical Theater ◽  
Labor Union ◽  
Symphony Orchestra ◽  
Development Stage ◽  
World War ◽  
Performance Space

Between 1896 and 1915, Black professional entertainers transformed New York City’s most established culture industries—musical theater and popular song publishing—and helped create two new ones: social dancing and music recording. While Black culture workers’ full impact on popular entertainment and Black modernism would not be felt until after World War I, the Harlem Renaissance and the Jazz Age were decades in the making. Stage performers Williams and Walker and their musical director Will Marion Cook introduced full-scale Black musical theater to Broadway between 1902 and 1909; songwriters-turned-performers Cole and Johnson expanded the style and substance of ragtime songs along Tin Pan Alley; James Reese Europe created a labor union for Black musicians that got hundreds of players out of Black nightclubs into high-paying White elites’ homes, eventually bringing a 200-person all-Black symphony orchestra to Carnegie Hall for the first concert of its kind at the august performance space. James Europe’s Clef Club Inc. also caught the ears of Manhattan’s leading social dancers, the White Irene and Vernon Castle, in ways that helped disseminate Europe’s ragtime dance bands across America and, by 1913, became the first Black band to record phonographs, setting important precedents for the hit jazz and blues records of the postwar era. While James Europe would go on to win renown as the musical director of the Harlem Hell Fighters—the most-decorated infantry unit to fight in World War I—his prewar community of professional entertainers had already successfully entered into New York City’s burgeoning, and increasingly national, commercial culture markets. By studying some of the key figures in this story it becomes possible to get a fuller sense of the true cultural ferment that marked this era of Black musical development. Stage performers Williams and Walker and Cole and Johnson, behind-the-scenes songwriters Will Marion Cook and James Weldon Johnson, and musicians such as James Reese Europe’s artistic and entrepreneurial interventions made African Americans central players in creating the Manhattan musical marketplace and helped make New York City the capital of U.S. performance and entertainment.

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