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. |
Índice
1 | |
11 | |
31 | |
FRANCE | 81 |
ITALY | 197 |
GERMANYAUSTRIA | 211 |
THE UNITED STATES OF AMERICA | 243 |
POSTARMISTICE | 355 |
EPILOGUE | 417 |
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 artists avant-garde band battle Beethoven Berg Berlin Boston British Busoni Canudo century chorus Church Claude Debussy Cocteau composer composer's concert Cubism Culture d’Indy Damrosch dance Debussy Debussy's early edited Elgar English Europe European film France front Futurist George German guerre Hindemith 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 November numerous opera Otto Dix Paris patriotic performance period perspective piano piece played poem poet political popular postwar premiere 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 Symphony Orchestra tion tradition tune Vincent d'Indy Wagner wartime Webern World World War Wozzeck written wrote York