By Annegret Fauser
What position did track play within the usa in the course of global conflict II? How did composers reconcile the calls for in their nation and their artwork as the USA mobilized either militarily and culturally for warfare?
Annegret Fauser explores those and plenty of different questions within the first in-depth research of yankee live performance song in the course of global warfare II. whereas Dinah Shore, Duke Ellington, and the Andrew Sisters entertained civilians at domestic and G.I.s overseas with swing and boogie-woogie, Fauser exhibits it used to be classical track that really distinctive musical existence within the wartime usa. Classical song in Forties the United States had a ubiquitous cultural presence--whether as an software of propaganda or a way of leisure, restoration, and uplift--that is difficult to visualize this present day, and Fauser means that no different struggle enlisted tradition more often than not and track particularly so consciously and unequivocally as global battle II. certainly, the day after the assault on Pearl Harbor, workforce Theatre director Harold Clurman wrote to his cousin, Aaron Copland: "So you are again in N.Y. . . able to protect your state in her hour of want with lectures, books, symphonies!" Copland used to be in truth curious about propaganda missions of the workplace of conflict details, as have been Marc Blitzstein, Elliott Carter, Henry Cowell, Roy Harris, and Colin McPhee. it's the works of those musical greats--as good as many different American and exiled eu composers who placed their skills to patriotic purposes--that shape the middle of Fauser's enlightening account.
Drawing on tune heritage, aesthetics, reception historical past, and cultural background, Sounds of War recreates the extraordinary sonic panorama of the area warfare II period and gives clean perception to the position of tune in the course of wartime.
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What function did track play within the usa in the course of global battle II? How did composers reconcile the calls for in their state and their artwork as the USA mobilized either militarily and culturally for warfare? Annegret Fauser explores those and lots of different questions within the first in-depth examine of yank live performance track in the course of global conflict II.
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Extra resources for Sounds of War: Music in the United States during World War II
Organized in so-called units, performers were usually grouped together to maximize the entertainment value of their offerings. 84 Other musicians in this group included the cellist Signe Sandstrom, the pianist Cynthia Earl, and the tenor Sergei Radamsky. ”87 Indeed, the war was a boon for rank-and-file musical (and “ w e , a s m u s i c i a n s , a r e s o l d i e r s , t o o . . ” | 37 theatrical) professionals who in the 1930s had suffered severely from the pressures of the Great Depression and from the inroads of the new broadcasting and recording industries.
59 Even Hollywood called right after his return to civilian life and cast the eye-catching musician as the pianist-hero in the 1946 comedy The Bachelor’s Daughters. Performing for Victory Eugene List may have been in uniform, but he was not alone in devoting his virtuoso talents to the war effort. After Pearl Harbor, numerous performers in the United States cast their music making as a form of war service. Like movie stars from Merle Oberon to Marlene Dietrich, famous musicians contributed their glamour and talent to raising funds for the cause.
Performing for Victory Eugene List may have been in uniform, but he was not alone in devoting his virtuoso talents to the war effort. After Pearl Harbor, numerous performers in the United States cast their music making as a form of war service. Like movie stars from Merle Oberon to Marlene Dietrich, famous musicians contributed their glamour and talent to raising funds for the cause. Concert 32 | c h a p t e r 1 performers and opera singers provided entertainment for troops and civilian war workers and even used their programs as a means of pro-Allies cultural diplomacy.