Classical music in 1940s America had a cultural relevance and ubiquitousness that is hard to imagine today. No other war mobilized and instrumentalized culture in general and music in particular so totally, so consciously, and so unequivocally as World War II. Through author Annegret Fauser's in-depth, engaging, and encompassing discussion in context of this unique period in American history, Sounds of War brings to life the people and institutions that created, performed, and listened to this music.
What 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.
Sounds of War is a book on the aesthetics of war experience in Chechnya. It includes theory on, and stories of, compassion, dance, children's agency and love. It is not simply a book to be read, but to be listened to. The chapters begin with the author's own songs expressing research findings and methodology in musical form.
'ounds of War, is a historical fiction of lost battles for the Al Anbar Province during Operation Iraqi Freedom. Richly rot with lambasted situations, follow Thomas Edington' gritty journey as it teeters on the edge of the surrealism. Always landing in hot water, his life is altered when he is forced to navigate down a precarious path of unspoken truths all while a barbaric war rages around him. The war' twilight reflects a rainbow of dark hues bathed in blood soaked colors of altruism, and if it were not for the gruesome realities of war, the 'ounds of War, would be a fantastic comedy. Entertainingly witty, the story line easily unfolds like a Hollywood block buster. A modern day Iliad. P.Rebog Author What really happens behind the tent flap, gruesome and funny all rolled into one. I'm not much into war stories but I was mesmerized with Thomas Ferreolus' not so normal fiction, 'OUNDS OF WAR, had me hooked from the get go. S. Churchill - Author
An exploration of the production, transmission, and mutation of affective tonality—when sound helps produce a bad vibe. Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the “psychoacoustic correction” aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or “sound bombs”) over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard—the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.
Drawing on a wealth of archival and literary sources, and availing themselves of a broad range of methodological approaches, the authors provide interdisciplinary reflections on the soundscapes of selected European cities in the year 1945, through representation in autobiographical texts and art, and through reception and transformation.
Whether as an instrument of propaganda or as a form of entertainment, classical music had a cultural relevance and a ubiquity in the war effort that are hard to imagine today. Exploring an abundance of sources ranging from government archives to the correspondence of musicians, this book traces how musicians in the United States responded and contributed to the war, following individual performers and composers as they faced military duty or sought alternative ways in which they could serve.
NEW YORK TIMES BESTSELLER • From a preeminent presidential historian comes a “superb and important” (The New York Times Book Review) saga of America’s wartime chief executives “Fascinating and heartbreaking . . . timely . . . Beschloss’s broad scope lets you draw important crosscutting lessons about presidential leadership.”—Bill Gates Widely acclaimed and ten years in the making, Michael Beschloss’s Presidents of War is an intimate and irresistibly readable chronicle of the Chief Executives who took the United States into conflict and mobilized it for victory. From the War of 1812 to Vietnam, we see these leaders considering the difficult decision to send hundreds of thousands of Americans to their deaths; struggling with Congress, the courts, the press, and antiwar protesters; seeking comfort from their spouses and friends; and dropping to their knees in prayer. Through Beschloss’s interviews with surviving participants and findings in original letters and once-classified national security documents, we come to understand how these Presidents were able to withstand the pressures of war—or were broken by them. Presidents of War combines this sense of immediacy with the overarching context of two centuries of American history, traveling from the time of our Founders, who tried to constrain presidential power, to our modern day, when a single leader has the potential to launch nuclear weapons that can destroy much of the human race. Praise for Presidents of War "A marvelous narrative. . . . As Beschloss explains, the greatest wartime presidents successfully leaven military action with moral concerns. . . . Beschloss’s writing is clean and concise, and he admirably draws upon new documents. Some of the more titillating tidbits in the book are in the footnotes. . . . There are fascinating nuggets on virtually every page of Presidents of War. It is a superb and important book, superbly rendered.”—Jay Winik, The New York Times Book Review "Sparkle and bite. . . . Valuable and engrossing study of how our chief executives have discharged the most significant of all their duties. . . . Excellent. . . . A fluent narrative that covers two centuries of national conflict.” —Richard Snow, The Wall Street Journal
