Dedication Acknowledgments Contents Introduction PART I - THE SONGS AND THEIR CREATORS
Chapter 1 THE SONGS OF THE WAR YEARS: Themes, Tunes, and Trends Prewar Songs and Their Influence Blitzkrieg: The Early War Songs Farewell to Normality: The Early Lyrical Songs War Is Here To Stay: Songs about Wartime Life Victory on the Horizon: The Tone Shifts Victory Becomes a Reality Chronologies, Shifts, and Variations in The Wartime Songs
Chapter 2 THE SOLDIERS OF THE SONG FRONT: Composers and Poets during the War The Composers The Poet-Lyricists Relations between Composers and Poets Remuneration: Contracts and Contests Amateur Song Writing Critiques and Debates on Song
Chapter 3 COMMAND AND CONTROL: Official Policy and Institutional Responsibility over Song The Creative Unions Party and State Structures Trade Unions and Other Organizations Military Involvement Censorship Control International Relations and the Arts Conclusions PART II - SONG DISTRIBUTION AND RECEPTION
Chapter 4 PRINT, PLASTIC, AND SOUND WAVES: Mass Media and Song Distribution Songbooks and Other Musical Publications Newspapers Radio Records Film Conclusions
Chapter 5 BALL GOWNS AND BOMBS: Performers and Brigades in Battle and at Home Diversity and Quantity of Performance Groups The Response to War The Experience of War: Brigade Travel, Performances and Living Conditions At the Front In Home Towns In the Rear Working Together PART III - SONG RECEPTION AND LEGACY
Chapter 6 FROM DAWN 'TIL DUSK: Song in Everyday Life Audience and Memory Children's Experiences Home Front Adult Experiences Song at the Front The Power of Song
Chapter 7 THE LEGACY OF THE WAR SONGS The Audience The State Fans and Idols Song Function The Legacy in the Body Post War Images of Freedom Conclusion Bibliography
Appendix 2 Appendix 3.
(source: Nielsen Book Data)
A woman wearing a ballgown singing in the snow for returning ski troops; a technician's tears ruining a master recording of a new wartime song; fresh recruits spontaneously standing and doffing their caps to a new song, thereby creating the new wartime anthem. This well researched, multi-faceted book depicts the relationship between song and society during WWII in the USSR. Chapter topics range from the creation and distribution of the songs to how the public received and shaped them. The body of song that came out of that era created a true cultural legacy which reflected both the hearts of the individuals fighting as well as the narrative of the party and state in bringing the nation to victory. (source: Nielsen Book Data)
I. La musique et les soldats.--II. La musique héroïque.--III. Un an d'hôpital.--IV. La femme française et la guerre.--V. La douce France.--VI. Un grand tragique français: Gluck.--VII. Un chef d'œuvre patriotique: le second acte de Guillaume Tell.--VIII. Verdi d'après sa correspondance.--IX. Gabriel d'Annunzio et la musique.--X. Une Jeanne d'Arc italienne.--XI. Un musicien franco-belge: les Essais de Grétry.--XII. Le dernier sourire de la musique française avant la guerre: le Marouf de M. Henri Rabaud.
How does creativity thrive in the face of fascism? How can a highly artistic individual function professionally in so threatening a climate? The final book in a critically acclaimed trilogy that includes Different Drummers (OUP 1992) and The Twisted Muse (OUP 1997), this is a detailed study of the often interrelated careers of eight outstanding German composers who lived and worked amid the dictatorship of the Third Reich: Werner Egk, Paul Hindemith, Kurt Weill, Karl Amadeus Hartmann, Carl Orff, Hans Pfitzner, Arnold Schoenberg, and Richard Strauss. Noted historian Michael H. Kater weighs issues of accommodation and resistance to ask whether these artists corrupted themselves in the service of a criminal regime-and if so, whether this is evident in their music. He also considers the degrees to which the Nazis politically, socially, economically, and aesthetically succeeded in their treatment of these individuals, whose lives and compositions represent diverse responses to totalitarianism. (source: Nielsen Book Data)