000			04094cam a22004334i 4500
001			ocn819383019
003			OCoLC
005			20251028093310.0
008			121129s2013 nyua b 001 0 eng
010			_a 2012047880
035			_a(Sirsi) i9780195248031
040			_aDLC _beng _erda _cDLC _dYDX _dBTCTA _dOCLCO _dBDX _dUKMGB _dYDXCP _dNYP _dCDX _dBWX _dCOO _dCHVBK _dTDF _dTLE _dEEK _dIG# _dGZW _dICW _dCUD _dOCLCQ _dVF$
015			_aGBB335691 _2bnb
016	7		_a016315597 _2Uk
019			_a857650726
020			_a9780195248031 (hardcover : alk. paper)
020			_a0195248038 (hardcover : alk. paper)
035			_a(OCoLC)819383019 _z(OCoLC)857650726
042			_apcc
043			_an-us---
050	0	0	_aML 3917 .U6 _bF38 2013
049			_aVF$A
100	1		_aFauser, Annegret.
245	1	0	_aSounds of war : _bmusic in the United States during World War II / _cAnnegret Fauser.
264		1	_aNew York : _bOxford University Press, _c[2013]
300			_axv, 366 pages : _billustrations ; _c25 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references (pages 327-346) and index.
505	0		_a1. "We, as musicians, are soldiers, too ... ". Musicians in uniform ; Performing for victory ; Composition in the war effort ; Cultural mediators and educators -- 2. "Shaping music for total war". Music in the service of propaganda: the Office of War Information ; Crossing borders: music, diplomacy, and the State Department ; The singing army: uplift and education for a nation ; Music therapy and the "reconditioning" of soldiers -- 3. "I hear America singing ... ". Sounds of a usable past ; Salutes to American folk song ; Voicing opera in America -- 4. "The great invasion". Living in exile ; French connections, Czech identities ; Refugees from axis nations -- 5. "Hail muse Americana!". Commemoration and patriotic celebration ; Celebrating the American way ; New world symphonies.
520			_aWhat role did music play in the United States during World War II? How did composers reconcile the demands of their country and their art as America mobilized both militarily and culturally for war? Annegret Fauser explores these and many other questions in the first in-depth study of American concert music during World War II. While Dinah Shore, Duke Ellington, and the Andrew Sisters entertained civilians at home and G.I.s abroad with swing and boogie-woogie, Fauser shows it was classical music that truly distinguished musical life in the wartime United States. Classical music in 1940s America had a ubiquitous cultural presence--whether as an instrument of propaganda or a means of entertainment, recuperation, and uplift--that is hard to imagine today, and Fauser suggests that no other war enlisted culture in general and music in particular so consciously and unequivocally as World War II. Indeed, the day after the attack on Pearl Harbor, Group Theatre director Harold Clurman wrote to his cousin, Aaron Copland: "So you're back in N.Y ... ready to defend your country in her hour of need with lectures, books, symphonies!" Copland was in fact involved in propaganda missions of the Office of War Information, as were Marc Blitzstein, Elliott Carter, Henry Cowell, Roy Harris, and Colin McPhee. It is the works of these musical greats--as well as many other American and exiled European composers who put their talents to patriotic purposes--that form the core of Fauser's enlightening account. Drawing on music history, aesthetics, reception history, and cultural history, Sounds of War recreates the remarkable sonic landscape of the World War II era and offers fresh insight to the role of music during wartime [Publisher description].
650		0	_aMusic _xPolitical aspects _zUnited States _xHistory _y20th century.
650		0	_aMusic _xSocial aspects _zUnited States _xHistory _y20th century.
650		0	_aMusic and state _zUnited States _xHistory _y20th century.
650		0	_aWorld War, 1939-1945 _xMusic and the war.
994			_aC0 _bVF$
999			_c133574 _d133574