Songs of War: Anglo-Canadian Popular Songs on the Home Front, 1914-1918

This article explores the production, content, and reception of Anglo-Canadian popular songs composed during the First World War. It argues that popular songs reflected the changing attitudes of Anglo-Canadians, as composers and publishers created music to fulfill different purposes for those on the home front at various stages of the war. In the beginning, the majority of songs were patriotic marches composed to gather support for Britain and the Empire. As the war continued, there was an increase in the number of patriotic songs that expressed a growing sense of wartime Canadian nationalism to enlist recruits. Throughout the war, music was significant to the First World War experience on Canada’s home front

A Song for Jennie

The simple tune was created by lyricist E. B. Dewing and composer J. P. Webster who hoped they would inspire patriotism in their female audience while they worked to become accomplished musicians. When the Civil War broke out, the young women who played the piece had been left behind on the home front, only to imagine what horrors their men were facing. The government and the warfront alike relied on the homefront to present a brave and loyal face in order to maintain support for the war effort through the fostering of a nationalistic, sentimental culture that bled into all aspects of Union life. Music was a feminine expression of patriotic devotion that many women used to empathize with those on the battle front as well as to inspire themselves and their peers toward acts of patriotic sacrifice on behalf of their war-torn nation. After the war ended and America moved into Reconstruction, music like “Jennie Wade, the Heroine of Gettysburg” continued to inspire women, who were busy honoring the dead and healing the country’s gaping wounds. [excerpt

Patriotic Sublime: Music and the Nation in America, 1790-1848

“Patriotic Sublime: Music and the Nation in America, 1790-1848” analyzes patriotic music in Cincinnati and Baltimore, and in the national print and performance networks that crisscrossed the antebellum United States. It argues that Americans established a distinctive kind of patriotic sentiment, the patriotic sublime, through music. During this period, citizens used music to articulate their nationalist sentiments, attaching it to emotional expressions and republican martial virtues in civic celebrations, commercial plays and concerts, and printed music. This dissertation examines patriotic songs and musical performance, and the intersecting public and private venues in which patriotic music was performed between the 1790s and 1840s. It also shows that patriotic themes circulated among different genres of music and performance, from sacred church music and military marches to minstrelsy. The nation’s burgeoning print culture disseminated patriotic music widely by reporting on performance in newspapers, magazines, and memoirs, and by circulating songs in sheet music, broadsides, and other forms. Elites in early republican America wished to promote patriotic feeling; they believed that “national music” could refine the sensibilities of the new nation’s citizenry, and they pursued their project of refinement by writing patriotic songs and music criticism, and through music education. Meanwhile, ordinary Americans were creating their own national music: whites satirized refinement in minstrel songs and fashioned distinctive regional variants on patriotic song, while African Americans and reformers, white and black, appropriated the patriotic sublime for their own goals. Printed music and news of wartime victories from the War of 1812 to the Mexican-American War played a central role in the popularization of patriotic music, including “The Star Spangled Banner,” which was an important moment in the early elaboration of the patriotic sublime. The culture of mid-century militiamen and their brass bands, and their role in civic life, constituted the apotheosis of the patriotic sublime. By the declaration of war with Mexico in 1846, the patriotic sublime was the dominant expression of American nationalism, and for many, especially white citizens, a triumphant and consensual assertion of America’s imperialist destiny

0264: Claren Martin Peoples Papers, 1940-1943

The collection consists of two copies of Peoples’ 1941 M.A. in Music Education thesis for The Ohio State University, radio transcripts intended to teach rural school children about music through patriotic songs, and three sets of sheet music related to Marshall, Huntington High School, and West Virginia

From courtesy of the red, white, and blue to if you\u27re reading this : patriotic themes in country music between 2000-2010

Music plays an important role in the lives of individuals and often reflects important societal values. Music can also serve as an important reflection of the public’s current opinion at a given point in time. Patriotism is a feeling of love for one’s homeland and has often been the subject matter of music lyrics throughout history. In particular, country music has been perceived as being an especially patriotic genre of music. This thesis utilized quantitative and qualitative content analyses as the methods to examine the patriotic content of country music lyrics over the past decade. The sample was adapted from Billboard’s year-end “Hot Country Songs” chart. Nearly 40% of the sample conveyed patriotic themes. The majority of these songs expressed blind patriotism, or unquestioning support of America. The songs that exuded patriotism were categorized into one of four themes: songs about terrorist attacks, wartime and the armed forces; songs about the American dream; songs about current events in America; and songs celebrating American life. Additionally, the songs about terrorism, wartime, and the armed forces experienced a shift in tone throughout the decade. The beginning of the time period contained songs that were overtly pro-America and pro-war, the middle of the decade included songs that were much softer and focused on the soldiers’ lives rather than the actual war, and lastly, the end of the decade contained songs that told stories of wartime casualties that many families were experiencing first handedly. This study illustrates that country music’s narrative and story-like lyrics have captured the patriotic feelings experienced by many people throughout the past decade. These songs collectively provided a snapshot of the opinions and values of society throughout the past decade

Interface of music and politica: versions of patriotic consciousness in Zimbabwean music, 1970-2015

Music is an inviolable imaginative litmus diagnosis on a constellation of ideational and conceptual contestations which elicit mutually exclusive and inclusive versions of patriotic consciousness in the Zimbabwean polity. The study specifically analyses the renditions of patriotic consciousness as expressed through selected musical compositions in Shona, Ndebele and English conceptualised as Zimbabwe-centred musical texts. It unfurls in the context of the interplay between music and politics in which music is seen as intricately interwoven with national politics causing shifts of realities. The research approaches and conceptualises patriotic consciousness as a heuristic construct and a measure of development that constitutes an instrument for ideological and conceptual contestations in specific political argumentative settings within the period 1970 to 2015. It deploys the critical tenets of Afrocentricity and the Socio-semantic theory of music to advance the contention that patriotic consciousness as a concept for political analysis enables the criticism and explanation of existing rival sentiments, different wants, competing needs and opposing interests in the Zimbabwean polity. Musicians who contribute to Zimbabwe-centred musical texts also (un)consciously become part of the ideological and conceptual battlefield for political legitimacy. The study pays attention to the lyrics’ content, the historical epoch from which the lyrics respond to and ideological influences embedded in the lyrics, which potentially trigger ideational and conceptual clashes. It engages the song lyrics of musicians, whose music constitute Zimbabwe-centred musical texts, as a mode of art that (in)directly conveys political ideas, identities and interests on the notion of love and object of allegiance in national politics thereby engaging in ideational and conceptual contestations.Linguistics and Modern Language

Effects of neurostimulation and motivating patriotic music on reserve officer training unit cadets running performance and mood states

Transcranial neurostimulation can improve bodily function through training the brain and the central nervous system. Besides that, there are also increasing evidence that the “right” music can increase performance. This study examined the effects of neurostimulation and motivating patriotic music on running performance and mood states of 22 male ROTU cadets. All the participants participated in all three research conditions which were no stimulation, neurostimulation and motivating patriotic music, but at different times with one week of rest in between conditions. Upon receiving the stimulation, the participants did Multistage Fitness Test (MSFT) to measure their running performance. Mood states of the participants were taken before stimulation, after stimulation and after performing MSFT by using Brunel Mood Scale (BRUMS) questionnaire. There were no statistically significant differences in the running performance between no stimulation, neurostimulation and motivating patriotic music. For stimulation by using motivating patriotic music, we found out that there were statistically significant differences in fatigue, tension and vigour mood states across the three times. As for neurostimulation, we found out that there were statistically significant differences in all six BRUMS items that we assessed. We conclude that neurostimulation and motivating patriotic music did not increase the running performance of ROTU cadets. Both neurostimulation and listening to motivating patriotic music can enhance mood states before a running performance test. Motivating patriotic music was shown to give greater mood responses when compared to neurostimulation

CIVIC AND PATRIOTIC MOTIVATION OF KYRYLO STETSENKO’S LIFE CREATIVITY

The purpose of the article is to outline aware and persistent efforts of K. Stetsenko in the areas of creative, pedagogical and social work for the national-patriotic education of youth, as well as the Ukrainian society as a whole. The methodology of the research lies in application of historical, biographical and system-analytical methods. The scientific novelty of the research is in the discourse of cultural and educational basis of Kyrylo Stetsenko’s musical creativity, his pedagogical and social activities; in systematizing materials about his achievements as a composer, conductor, critic, teacher and public figure motivated by his national and patriotic priorities. K. Stetsenko inherited his love for art, folklore, and respect for Ukrainian sacral traditions from his parents’ home. During his studies at the theological educational institutions and in M. Lysenko’s Music and Drama School the grounds of his national self-awareness were set. This was also facilitated by his personal acquaintance with Mykola Lysenko. K. Stetsenko’s managerial and choral activities, foundation of music publishing house, his work as a music critic and educator were motivated by his devoted commitment to the Ukrainian idea. The composer’s patriotic attitude was reflected in his selection of freedom-loving poetry for vocal music, in composing a number of spiritual pieces, in interpretation of folk-verse and paraliturgical samples, in children’s art. Conclusions. Due to his tireless social work, talent of a composer, pedagogical and managerial skills, the artist responded to the needs of the Ukrainian society and school, realized the demand for artistic-concert and didactic material, understood its significance for musical education and upbringing. Both musical and theoretical works of K. Stetsenko were based on national patriotic principles, and therefore they remain relevant to this day

Intercom Online 1999 July 1

In the News, UT Tyler Appoints Director of Longview University Center, Patriotic band music concert presented, Meadows Gallery summer show features mixed-media sculpture, calendar, upcoming events, contact u

The Little Civil War Drummer Boy

When I think about the battle front, I think about soldiers in uniform marching off to fight with their weapons and small mementos from home. I also think about the many doctors and nurses who provided care to men riddled with bullet holes and disease. I never thought of drummers, though, until I saw the snare drum pictured above. However, this drum and the many others like it were an integral part of army life. For the drummers themselves, their instrument represented a unique avenue of service where zealous, but often underaged, patriots could join the war efforts without being directly engaged in active combat. To soldiers in the midst of battle, listening to the drum could either inspire patriotism or fear, depending on whether the staccato taps came from their own drummers or those of the enemy. Outside of combat, the drum helped to create order in camp and in drill, as well as provide some musical relief from the dullness of a long march or extended period of encampment. Drum-based music accompanied nearly every aspect of life for Civil War soldiers. [excerpt