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Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Toward a Lexicon for the Style Hongrois Jonathan D
University of Northern Colorado Scholarship & Creative Works @ Digital UNC School of Music Faculty Publications School of Music Spring 1991 Toward a Lexicon for the Style hongrois Jonathan D. Bellman Follow this and additional works at: https://digscholarship.unco.edu/musicfacpub Part of the Musicology Commons Recommended Citation Bellman, Jonathan D., "Toward a Lexicon for the Style hongrois" (1991). School of Music Faculty Publications. 2. https://digscholarship.unco.edu/musicfacpub/2 This Article is brought to you for free and open access by the School of Music at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in School of Music Faculty Publications by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. Toward a Lexicon for the Style hongrois Author(s): Jonathan Bellman Source: The Journal of Musicology, Vol. 9, No. 2 (Spring, 1991), pp. 214-237 Published by: University of California Press Stable URL: http://www.jstor.org/stable/763553 . Accessed: 17/01/2015 20:21 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. -
Disciplinary Culture
Disciplinary Culture: Artillery, Sound, and Science in Woolwich, 1800–1850 Simon Werrett This article explores connections between science, music, and the military in London in the first decades of the nineteenth century.1 Rather than look for applications of music or sound in war, it considers some techniques common to these fields, exemplified in practices involving the pendulum as an instrument of regulation. The article begins by exploring the rise of military music in the late eighteenth and early nineteenth centuries, and then compares elements of this musical culture to scientific transformations during 1 For broad relations between music and science in this period, see: Myles Jackson, Harmonious Triads: Physicians, Musicians, and Instrument Makers in Nineteenth-Century Germany (Cambridge, MA: MIT Press, 2006); Alexandra Hui, The Psychophysical Ear: Musical Experiments, Experimental Sounds, 1840–1910 (Cambridge, MA: MIT Press, 2012); Emily I. Dolan and John Tresch, “‘A Sublime Invasion’: Meyerbeer, Balzac, and the Opera Machine,” Opera Quarterly 27 (2011), 4–31; Emily Thompson, The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933 (Cambridge, MA: MIT Press, 2004). On science and war in the Napoleonic period, see for example: Simon Werrett, “William Congreve’s Rational Rockets,” Notes & Records of the Royal Society 63 (2009), 35–56; on sound as a weapon, Roland Wittje, “The Electrical Imagination: Sound Analogies, Equivalent Circuits, and the Rise of Electroacoustics, 1863–1939,” Osiris 28 (2013), 40–63, here 55; Cyrus C. M. Mody, “Conversions: Sound and Sight, Military and Civilian,” in The Oxford Handbook of Sound Studies, eds. Trevor Pinch and Karin Bijsterveld (Oxford: Oxford University Press, 2012), pp. -
School of Music Faculty of Fine Arts University of Victoria C
School of Music Faculty of Fine Arts University of Victoria C University of Victoria School of Music MUS SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA Faculty Concert SERIES DR. LAUREL PARSONS presents “Red Cross Nell and Khaki Jim”: The WWI Songs of Gordon V. Thompson With Anna Shill (M.Mus ‘13), soprano and members of Dr. Parsons’s first-year musicianship class: Matthew Connelly Alexander Felton Zachary Power Nicholas Renaud Austin Warren Laurel Parsons, piano Tuesday, February 3, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation P R O G R A M Music and lyrics by Gordon V. Thompson (1888–1965) unless otherwise noted. Marching Off to War That Old Tipperary Tune Fly the Flag* lyrics by M. Gillmor Davis music by Gordon V. Thompson Imagining the Battlefield Red Cross Nell and Khaki Jim (with Nicholas Renaud as Khaki Jim) Dreaming of Home lyrics by Gordon V. Thompson music by Jules Brazil (?-1955) Remember Nurse Cavell lyrics by Gordon V. Thompson music by Jules Brazil Women and Children Waiting at Home When Your Boy Comes Back to You I Want to Kiss Daddy Good-Night Return of the Veterans You Are Welcome Back at Home Sweet Home* *Please feel free to join in the chorus! LYRICS THAT OLD TIPPERARY TUNE I’ve a dear Irish boy, He’s my pride and my joy; And I love him as I never loved before, But he left me one day And he marched to the fray While the bands were bravely playing songs of war. -
Ashton Patriotic Sublime.5.Pdf (9.823Mb)
commercial spaces like theaters, and to performances spanning the gamut from the solemn, to the joyous. This diversity encompassed celebrations outside the expected calendar of national days. Patriotic sentiment was even a key feature of events celebrating the economic and commercial expansion of the new nation. The commemorative celebration for the laying of the foundation-stone of the Baltimore & Ohio Railroad, the “great national work which is intended and calculated to cement more strongly the union of the Eastern and the Western States,” took place on July 4, 1828.1 It beautifully illustrated the musical ties that bound different spaces together – in this case a parade route, a temporary outdoor civic space, and the permanent space of the Holliday Street Theatre. Organizers chose July Fourth for the event, wishing to signal civic pride and affective patriotism. Baltimore filled with visitors in the days before the celebration, so that on the morning of the Fourth the “immense throng of spectators…filled every window in Baltimore-street, and the pavement below….fifty thousand spectators, at least, must have been present.” The parade was massive and incorporated a great diversity of groups, including “bands of music, trades, and other bodies.” One focal point was a huge model, “completely rigged,” of a naval vessel, the “Union,” complete with uniformed sailors. Bands playing patriotic tunes were interspersed amongst the nationalist imagery on display: militia uniforms, banners emblazoned with patriotic verse, national flags, eagle figures, shields, and more. Charles Carrollton, one of the last surviving signers of the Declaration of Independence, gave the main public address at the site, accompanied by a march composed for the occasion, the “Carrollton March” (see Figure 2.4). -
Boston Symphony Orchestra Concert Programs, Summer, 1992
Kattl hlCL^WOOD I ? 7 2 W Toofc ofExcellence In every discipline, outstanding performance springs from the combination of skill, - vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics -> Jazz At Tanglewood WM Friday, Saturday, and Sunday August 28, 29, and 30, 1992 Tanglewood, Lenox, Massachusetts '-•' Friday, August 28, at 7:30 p.m. THE MODERN JAZZ QUARTET RAY CHARLES Koussevitzky Music Shed Saturday, August 29 at 4 :30 p.m. CHRISTOPHER HOLLYDAY QUARTET REBECCA PARRIS and the GEORGE MASTERHAZY QUARTET Theatre-Concert Hall at 7:30 p.m. MAUREEN McGOVERN and MEL TORME with the HERB POMEROY BIG BAND Koussevitzky Music Shed Sunday, August 30 at 4 :30 p.m. GARY BURTON AND EDDIE DANIELS Theatre-Concert Hall at 7:30 p.m. DAVE BRUBECK QUARTET WYNTON MARSALIS Koussevitzky Music Shed ARTISTS The Modern Jazz Quartet Gibbs in the Woody Herman Second Herd. The following year he rejoined the Gillespie band, eventually becoming a founding member of the Modern Jazz Quartet. Among the many compositions Mr. Jackson contributed to the group, "Bags' Groove" has become a classic. During the members' annual vacation from the MJQ, Milt Jack- son assembles various groups of musicians to record albums under his own name and to play occasional engagements. Recently he returned to his bebop roots for an album aptly entitled Be Bop. Bass player Percy Heath was born in Making a return Tanglewood appearance, Wilmington, North Carolina, and grew up the Modern Jazz Quartet has a unique in Philadelphia. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
Italian Forces in Ethiopia Surrender; 120 Amerieans On
T *d,gmop ---------- ---- -■ .... .... Italian Forces in Ethiopia Surrender; 120 Amerieans on '_______________ _________ ;------- C Chosen to Wear Crown of Croatia cean’s Broad Reach Fascist Forces Up to British Today Uoaks Liner’s Fate; Duke of Aosta List of Passengers Surrender Necessary Re- i Capitulation of Last Ma« 24 Ambulance Drivers Japs Believe Urges. Goods cause Italians Rail Out jor - Stronghold hi Included Among Those O f Food, and Water; Northeast Ethiopia ] «.299-T oh EgypUan America Will About Egyptian Steam* Be Delivered Amba Alaji Defenders Conies After Italian^: er 2amzam Several m > TgT • : Liner Reported Sunk Reduced to Material Go into War Allowed One Day ^ Groups of Missionar* 1 0 J M a Z l f o e s On voyage from New Impossibility of Tak Collect the Woundedjl ics Also Aboard Ves - - - - - - I York to Alexandria No ing Care of Wounded Own Position Is One of Duke and General .t|$ Nelson Rockefeller Says' Definite Word as to sel Reported Sunk in And Cease Fighting. Waiting for Roosevelt Surrender Tomontraf* South Atlantic Ocean, Trade in HUler-Domi- What Occurred to Ship To Move Must Abide noted W orld Would Rome, M ay 19.— (A>)— The Cairo, Egypt, May 19. , New York, May 19.— (/P)— New York, May 19.— (A*)— Duke of Aosta, viceroy of By AxU Pact Terms. — About 7,000 Italian aoldiem Be Impossible Task. The broad expanse of the Philip Faversham, 33-year- Ethiopia, has surrendered are surrendering in E ^ o ” " old son of the late William V ■ South Atlantic— or possibly Tokyo, May 19.—(JP)—The Japa today and their commai New York, May 19.-r(P)—Nel limself and his troops to the Faversham, actor, was among {he Indian ocean— cloaked the nese press declared today that at Alma Alaji, the Duke son A. -
The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. -
76201616.Pdf
http://jazzaparis.canalblog.com (informations toujours susceptibles de changements) Festival Jazz à St Germain des Près du 20 mai au 3 juin (programme de juin) * vendredi 1er juin : “Les petites mains symphoniques” (docu) & Jazz & Bavardages Aurélien Robert/Bar Zalel/Ghali Hadefi; DJ Fassio; Bojan Z solo, Bojan Z trio * samedi 2 juin : Groupes de jazz vocal amateurs; Shaï Maestro * dimanche 3 juin : Jazz en scène (Jazz et bavazrdage); Shaï Maestro trio Tous les détails sur le site (très bien fait) du Festival Jazz à Saint Germain des Près du vendredi 01-juin-12 20:00 Duc des Lombards (concerts à 20h & 22h) Autour de 30 € au samedi 30-juin-12 20:00 After Hours (les vendredis et samedis, minuit, gratuit (conso)) : Ahmet Gulbay Trio (1er); Manuel Marchès Trio (2); Karim Blal (8); Ahmet Gulbay Trio (9); Manuel Marchès Trio (15); Gaël Horellou Quartet (16); Enzo Carniel Trio (22); Lukmil Perez Trio (23) Etienne Desconfins Trio (29); Lukmil Perez Trio (30) Lou Donalson 4tet (1er, 2); Jean Pierre Mas 4tet (4); Shauli Einav 5tet (5, 21h : voir 100% Tel Aviv) Avi Lebovitch Orch. (6, 21h : voir 100% Tel Aviv); Danilo Perez (7 au 9); Gregoire Maret (11, 12) Franck Amsallem & Dan Block (13); Anthony Strong (14 au 16); Klezmer Nova (19); PG Project - Pierre Guiquéro Septet (20); Le Cabaret Primduf (les 40 ans de Daniel Colin)(21 au 23); Dominique Fillon 4tet (26, 27); Tierney Sutton (27 au 29); Big Daddy Wilson (30) Duc des Lombards - 01.42.33.22.88 - 42 rue des Lombards - Paris 1er (M° Châtelet; Les Halles) Plan RATP du vendredi 01-juin-12 20:30 -
Music for a National Defense”: Making Martial Music During the Anti-Japanese War
“Music for a National Defense”: Making Martial Music during the Anti-Japanese War Joshua H. Howard, University of Mississippi Abstract This article examines the popularization of “mass songs” among Chinese Communist troops during the Anti-Japanese War by highlighting the urban origins of the National Salvation Song Movement and the key role it played in bringing songs to the war front. The diffusion of a new genre of march songs pioneered by Nie Er was facilitated by compositional devices that reinforced the ideological message of the lyrics, and by the National Salvation Song Movement. By the mid-1930s, this grassroots movement, led by Liu Liangmo, converged with the tail end of the proletarian arts movement that sought to popularize mass art and create a “music for national defense.” Once the war broke out, both Nationalists and Communists provided organizational support for the song movement by sponsoring war zone service corps and mobile theatrical troupes that served as conduits for musicians to propagate their art in the hinterland. By the late 1930s, as the United Front unraveled, a majority of musicians involved in the National Salvation Song Movement moved to the Communist base areas. Their work for the New Fourth Route and Eighth Route Armies, along with Communist propaganda organizations, enabled their songs to spread throughout the ranks. Keywords: Anti-Japanese War, Li Jinhui, Liu Liangmo, Lü Ji, Mai Xin, mass song, National Salvation Song Movement, New Fourth Army, Nie Er, United Front, Xian Xinghai Reflecting on his country’s defeat in World War II, a Japanese interviewed in Taibei attributed China’s victory neither to superior weaponry nor to battle tactics but to the fact that it had “relied on War of Resistance songs (kangzhan gequ) to arouse tremendous popular sentiment” (Chen F. -
A Model for an Operational Audit of United States Coast Guard Non-Appropriated Fund Activities
Calhoun: The NPS Institutional Archive Theses and Dissertations Thesis Collection 1980-09 A model for an operational audit of United States Coast Guard non-appropriated fund activities Dufresne, Paul Anthony Monterey, California. Naval Postgraduate School http://hdl.handle.net/10945/17639 ,oot NAVAL POSTGRADUATE SCHOOL Monterey, California THESIS A MODEL FOR AN OPERATIONAL AUDIT OF UNITED STATES COAST GUARD NON- APPROPRIATED FUND ACTIVITIES Paul Anthony Dufresne September 1980 Thesis Advisor: R. A. Bobulinski Approved for public release; distribution unlimited t 19628* UNCLASSIFIED SECURITY CLASSIFICATION (IF THIS »«r.C (Whan Data gnfr»4) READ INSTRUCTIONS REPORT DOCUMENTATION PAGE BEFORE COMPLETING FORM 2. OOVT ACCESSION NO 1. REClRlENT'S CAT ALOC HJMIC* 4 (and Suotltlo) TITLE »• tyre of report * rerioo covercd A Model for an Operational Audit of Master's Thesis: United States Coast Guard Non- September 1980 Appropriated Fund Activities • PERFORMING ORG. RI*0 B T NuMIIR 7. AuTHOUfa) • CONTRACT OR GRANT NUMlCHrij Paul Anthony Dufresne » »t»'O«MiN0 0»O*Nl2»TiON NAME AND ADDRESS t0. PROGRAM CLEMlNT. PROJECT. TASK AREA * WORK UNIT NUMBERS Naval Postgraduate School Monterey, California 93940 I I CONTROLLING OFFICE NAME AND ADDRESS 12. REPORT DATE Naval Postgraduate School September 1980 Monterey, California 93940 1» number of rages 187 U MONITORING AGENCY NAME A AODRESSf// H.lfrorst mm Controlling OUleo) IS. SECURITY CLASS, (ol rhla ra>ort) Naval Postgraduate School Unclassified Monterey, California 93940 ISa. OECLASSlFl CATION/ DOWNGRADING