Proof through the Night: Music and the Great WarUniversity of California Press, 30/12/2002 - 614 páginas Carols floating across no-man's-land on Christmas Eve 1914; solemn choruses, marches, and popular songs responding to the call of propaganda ministries and war charities; opera, keyboard suites, ragtime, and concertos for the left hand—all provided testimony to the unique power of music to chronicle the Great War and to memorialize its battles and fallen heroes in the first post-Armistice decade. In this striking book, Glenn Watkins investigates these variable roles of music primarily from the angle of the Entente nations' perceived threat of German hegemony in matters of intellectual and artistic accomplishment—a principal concern not only for Europe but also for the United States, whose late entrance into the fray prompted a renewed interest in defining America as an emergent world power as well as a fledgling musical culture. He shows that each nation gave "proof through the night"—ringing evidence during the dark hours of the war—not only of its nationalist resolve in the singing of national airs but also of its power to recall home and hearth on distant battlefields and to reflect upon loss long after the guns had been silenced. Watkins's eloquent narrative argues that twentieth-century Modernism was not launched full force with the advent of the Great War but rather was challenged by a new set of alternatives to the prewar avant-garde. His central focus on music as a cultural marker during the First World War of necessity exposes its relationship to the other arts, national institutions, and international politics. From wartime scores by Debussy and Stravinsky to telling retrospective works by Berg, Ravel, and Britten; from "La Marseillaise" to "The Star-Spangled Banner," from "It's a Long Way to Tipperary" to "Over There," music reflected society's profoundest doubts and aspirations. By turns it challenged or supported the legitimacy of war, chronicled misgivings in miniature and grandiose formats alike, and inevitably expressed its sorrow at the final price exacted by the Great War. Proof through the Night concludes with a consideration of the post-Armistice period when, on the classical music front, memory and distance forged a musical response that was frequently more powerful than in wartime. |
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Página 6
... ' movements to preserve the sense of comradeship experienced in the service . Numerous song texts from this period clearly attempted to perpetuate a social intimacy across class barriers that was largely 61 Introduction.
... ' movements to preserve the sense of comradeship experienced in the service . Numerous song texts from this period clearly attempted to perpetuate a social intimacy across class barriers that was largely 61 Introduction.
Página 8
... sense of epiphany that accrues from such encounters provides only partial redress , however , for the sense of powerlessness that inevitably fol- lows all attempts to reconstitute the first meanings of so vast and varie- gated a ...
... sense of epiphany that accrues from such encounters provides only partial redress , however , for the sense of powerlessness that inevitably fol- lows all attempts to reconstitute the first meanings of so vast and varie- gated a ...
Página 9
... sense of continu- ity in what has come to be called the Thirty - One Years War ( 1914-1945 ) was not a historical ploy but a personal reality . It is to the memory of my parents during these unforgettable years that I dedicate this book ...
... sense of continu- ity in what has come to be called the Thirty - One Years War ( 1914-1945 ) was not a historical ploy but a personal reality . It is to the memory of my parents during these unforgettable years that I dedicate this book ...
Página 18
... sense of history as well as personal taste . 19 Rolland noted with pride the French concern for musical declamation , as evidenced in their artful control of the recitative . In 1905 , while a French translation of Strauss's Salome was ...
... sense of history as well as personal taste . 19 Rolland noted with pride the French concern for musical declamation , as evidenced in their artful control of the recitative . In 1905 , while a French translation of Strauss's Salome was ...
Página 20
... sense of form and counterpoint and transcended parochial perspectives . Although Rolland could hold up Debussy as an ideal representative for some future Strasbourg festival and as a consummate model for Strauss in matters of diction ...
... sense of form and counterpoint and transcended parochial perspectives . Although Rolland could hold up Debussy as an ideal representative for some future Strasbourg festival and as a consummate model for Strauss in matters of diction ...
Índice
13 | |
31 | |
33 | |
47 | |
61 | |
FRANCE | 81 |
Mobilization and the Call to History | 83 |
War and the Children | 103 |
The Yanks Are Coming | 245 |
Onward Christian Soldiers | 270 |
The 100 American | 282 |
Proof through the Night | 297 |
On Patrol in No Mans Land | 312 |
Coming of Age in America | 333 |
POSTARMISTICE | 355 |
Goin Home | 357 |
War Games 19141915 | 122 |
Charades and Masquerades | 140 |
Church State and Schola | 157 |
Neoclassicism Aviation and the Great War | 170 |
ITALY | 197 |
The World of the Future the Future of the World | 199 |
GERMANYAUSTRIA | 211 |
Dance of Death | 213 |
The Last Days of Mankind | 227 |
THE UNITED STATES OF AMERICA | 243 |
Ceremonials and the War of Nerves | 372 |
The Persistence of Memory | 386 |
Prophecies and Alarms | 403 |
EPILOGUE | 417 |
Unfinished Business | 419 |
Notes | 431 |
Selected Bibliography | 541 |
Index | 575 |
List of CD Contents | 597 |
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Proof Through the Night: Music and the Great War Glenn Watkins,Professor of Music Glenn Watkins Pré-visualização limitada - 2003 |
Palavras e frases frequentes
Alban Berg American Music Antheil Armistice army Arnold Schoenberg artists avant-garde band battle Beethoven Berg Berg's Berlin Boston British Busoni Canudo century Charles chorus Church Claude Debussy Cocteau composer composer's concert Cubism Culture d'Indy's Damrosch dance Debussy Debussy's early edited Elgar English Europe European film France front Futurist George German guerre Hindemith History hymn Ibid Igor Stravinsky issue Ives's jazz John Journal La Marseillaise later letter London March Marseillaise Maurice Ravel Memory Modern movement Muck musicians musique national anthem Neoclassicism noted numerous opera Otto Dix Paris patriotic performance period perspective piano piece played poem poet political popular postwar premiere propaganda published quartet ragtime recorded Richard Strauss role Rolland Romain Rolland Russian Sassoon scene Schoenberg sentiment Siegfried Sassoon singing soldat soldiers sonata songs Star-Spangled Banner Strauss Stravinsky symbolism tion tradition tunes Vincent d'Indy Wagner wartime Webern World Wozzeck written wrote York
Passagens conhecidas
Página 349 - In Flanders fields the poppies blow Between the crosses, row on row, That mark our place; and in the sky The larks, still bravely singing, fly Scarce heard amid the guns below. We are the Dead. Short days ago We lived, felt dawn, saw sunset glow, Loved and were loved, and now we lie In Flanders fields.
Página 61 - Once more unto the breach, dear friends, once more, Or close the wall up with our English dead ! In peace there's nothing so becomes a man As modest stillness and humility ; But when the blast of war blows in our ears, Then imitate the action of the tiger...
Página 54 - They shall not grow old, as we that are left grow old: Age shall not weary them, nor the years condemn. At the going down of the sun and in the morning We will remember them.
Página 270 - ... wounded, writhing in pain; help us to lay waste their humble homes with a hurricane of fire; help us to wring the hearts of their unoffending widows with unavailing grief; help us to turn them out roofless with their little children to wander unfriended through wastes of their desolated land...
Página 350 - Take up our quarrel with the foe; To you from failing hands we throw The torch; be yours to hold it high. If ye break faith with us who die We shall not sleep, though poppies grow In Flanders fields.
Página 426 - I would go up and wash them from sweet wells, Even with truths that lie too deep for taint. I would have poured my spirit without stint But not through wounds; not on the cess of war. Foreheads of men have bled where no wounds were. I am the enemy you killed, my friend. I knew you in this dark: for so you frowned Yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold. Let us sleep now...
Página 200 - It is possible to believe that all the past is but the beginning of a beginning, and that all that is and has been is but the twilight of the dawn.
Página 58 - I vow to thee, my country — all earthly things above — Entire and whole and perfect, the service of my love — The love that asks no question ; the love that stands the test, That lays upon the altar the dearest and the best ; The love that never falters, the love that pays the price, The love that makes undaunted the final sacrifice.
Página 270 - ... denied it — for our sakes, who adore thee, Lord, blast their hopes, blight their lives, protract their bitter pilgrimage, make heavy their steps, water their way with their tears, stain the white snow with the blood of their wounded feet!
Página 51 - On the idle hill of summer Sleepy with the flow of streams, Far I hear the steady drummer Drumming like a noise in dreams. Far and near and low and louder, On the roads of earth go by, Dear to friends and food for powder, Soldiers marching, all to die.