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Classical music in 1940s America had a cultural relevance and ubiquitousness that is hard to imagine today. No other war mobilized and instrumentalized culture in general and music in particular so totally, so consciously, and so unequivocally as World War II. Through author Annegret Fauser's in-depth, engaging, and encompassing discussion in context of this unique period in American history, Sounds of War brings to life the people and institutions that created, performed, and listened to this music.
The Sound of War is a heart-warming story about a group of Africans who have turned away from the vision their ancestors fought for. This shift becomes important when a new king ascends the throne of Umuisa. Metu, as the young king is called, throws culture and tradition to the wind. He refers to their culture as archaic, changes the system of government, and spurs a riot among his people. Furthermore, he declares his intention to demolish some sacred statues in the village square, which are symbols of their gods. Chioma, the oldest person in the land, wont let that happen. She gathers the villagers and tells them the actual story of how those monuments came to be. While telling the story, she tells them how Umuisa came into existence.
Sounds of War is a book on the aesthetics of war experience in Chechnya. It includes theory on, and stories of, compassion, dance, children's agency and love. It is not simply a book to be read, but to be listened to. The chapters begin with the author's own songs expressing research findings and methodology in musical form.
Music in all its forms was an indispensable part of everyday life in Britain's armed forces during the Great War.
To witness war is, in large part, to hear it. And to survive it is, among other things, to have listened to it--and to have listened through it. Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq is a groundbreaking study of the centrality of listening to the experience of modern warfare. Based on years of ethnographic interviews with U.S. military service members and Iraqi civilians, as well as on direct observations of wartime Iraq, author J. Martin Daughtry reveals how these populations learned to extract valuable information from the ambient soundscape while struggling with the deleterious effects that it produced in their ears, throughout their bodies, and in their psyches. Daughtry examines the dual-edged nature of sound--its potency as a source of information and a source of trauma--within a sophisticated conceptual frame that highlights the affective power of sound and the vulnerability and agency of individual auditors. By theorizing violence through the prism of sound and sound through the prism of violence, Daughtry provides a productive new vantage point for examining these strangely conjoined phenomena. Two chapters dedicated to wartime music in Iraqi and U.S. military contexts show how music was both an important instrument of the military campaign and the victim of a multitude of violent acts throughout the war. A landmark work within the study of conflict, sound studies, and ethnomusicology, Listening to War will expand your understanding of the experience of armed violence, and the experience of sound more generally. At the same time, it provides a discrete window into the lives of individual Iraqis and Americans struggling to orient themselves within the fog of war.
'Sound Targets' explores the role of music in American military culture, focusing on the experiences of soldiers returning from active service in Iraq. Pieslak describes how American soldiers hear, share, use & produce music, both on & off duty.
Whether as an instrument of propaganda or as a form of entertainment, classical music had a cultural relevance and a ubiquity in the war effort that are hard to imagine today. Exploring an abundance of sources ranging from government archives to the correspondence of musicians, this book traces how musicians in the United States responded and contributed to the war, following individual performers and composers as they faced military duty or sought alternative ways in which they could serve.
"This book describes in detail how music and sound function as a constituent part of the prestige combat film's larger work of memorialization in the cultural realm of commercial cinema. As Rikke Schubart and Anne Gjelsvik note, historians must deal with 'the complexity of history, war, heroism, patriotism, memory, and the process of their representation.' Hymns for the Fallen traces an expressive sonic continuity in this 'process of representation' for serious war films. The three elements of the soundtrack--dialogue, sound effects, music--are treated in detail in the chapters which follow, although music proves to be of particular interest."--Site de l'éditeur.
Drawing on a wealth of archival and literary sources, and availing themselves of a broad range of methodological approaches, the authors provide interdisciplinary reflections on the soundscapes of selected European cities in the year 1945, through representation in autobiographical texts and art, and through reception and transformation.
Since ancient times, music has demonstrated the incomparable ability to touch and resonate with the human spirit as a tool for communication, emotional expression, and as a medium of cultural identity. During World War II, Nazi leadership recognized the power of music and chose to harness it with malevolence, using its power to push their own agenda and systematically stripping it away from the Jewish people and other populations they sought to disempower. But music also emerged as a counterpoint to this hate, withstanding Nazi attempts to exploit or silence it. Artistic expression triumphed under oppressive regimes elsewhere as well, including the horrific siege of Leningrad and in Japanese internment camps in the Pacific. The oppressed stubbornly clung to music, wherever and however they could, to preserve their culture, to uplift the human spirit and to triumph over oppression, even amid incredible tragedy and suffering. This volume draws together the musical connections and individual stories from this tragic time through scholarly literature, diaries, letters, memoirs, compositions, and art pieces. Collectively, they bear witness to the power of music and offer a reminder to humanity of the imperative each faces to not only remember, but to prevent another such cataclysm.