LEADER 04633nam 22006734a 450 001 9910450285903321 005 20210604001017.0 010 $a9786612356506 010 $a0-520-92789-3 010 $a1-282-35650-X 010 $a1-59734-835-X 024 7 $a10.1525/9780520927896 035 $a(CKB)1000000000006456 035 $a(EBL)223027 035 $a(OCoLC)475926974 035 $a(SSID)ssj0000229264 035 $a(PQKBManifestationID)11239444 035 $a(PQKBTitleCode)TC0000229264 035 $a(PQKBWorkID)10168342 035 $a(PQKB)10008775 035 $a(StDuBDS)EDZ0000084582 035 $a(MiAaPQ)EBC223027 035 $a(OCoLC)56028697 035 $a(MdBmJHUP)muse30837 035 $a(DE-B1597)519913 035 $a(OCoLC)1063815838 035 $a(DE-B1597)9780520927896 035 $a(Au-PeEL)EBL223027 035 $a(CaPaEBR)ebr10062289 035 $a(CaONFJC)MIL235650 035 $a(EXLCZ)991000000000006456 100 $a20020416d2003 ub 0 101 0 $aeng 135 $aurun#---|u||u 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aProof through the night$b[electronic resource] $emusic and the great war /$fGlenn Watkins 210 $aBerkeley $cUniversity of California Press$dc2003 215 $a1 online resource 311 0 $a0-520-23158-9 320 $aIncludes bibliographical references (p. 541-573) and index. 327 $tFront matter --$tContents --$tList of Illustrations --$tAcknowledgments --$tIntroduction --$tPart 1. Prologue --$tPart 2. Great Britain --$tPart 3. France --$tPart 4. Italy --$tPart 5. Germany-Austria --$tPart 6. The United States of America --$tPart 7. Post-Armistice --$tPart 8. Epilogue --$tNotes --$tSelected Bibliography --$tIndex --$tList of CD Contents 330 $aCarols floating across no-man's-land on Christmas Eve 1914; solemn choruses, marches, and popular songs responding to the call of propaganda ministries and war charities; opera, keyboard suites, ragtime, and concertos for the left hand-all provided testimony to the unique power of music to chronicle the Great War and to memorialize its battles and fallen heroes in the first post-Armistice decade. In this striking book, Glenn Watkins investigates these variable roles of music primarily from the angle of the Entente nations' perceived threat of German hegemony in matters of intellectual and artistic accomplishment-a principal concern not only for Europe but also for the United States, whose late entrance into the fray prompted a renewed interest in defining America as an emergent world power as well as a fledgling musical culture. He shows that each nation gave "proof through the night"-ringing evidence during the dark hours of the war-not only of its nationalist resolve in the singing of national airs but also of its power to recall home and hearth on distant battlefields and to reflect upon loss long after the guns had been silenced. Watkins's eloquent narrative argues that twentieth-century Modernism was not launched full force with the advent of the Great War but rather was challenged by a new set of alternatives to the prewar avant-garde. His central focus on music as a cultural marker during the First World War of necessity exposes its relationship to the other arts, national institutions, and international politics. From wartime scores by Debussy and Stravinsky to telling retrospective works by Berg, Ravel, and Britten; from "La Marseillaise" to "The Star-Spangled Banner," from "It's a Long Way to Tipperary" to "Over There," music reflected society's profoundest doubts and aspirations. By turns it challenged or supported the legitimacy of war, chronicled misgivings in miniature and grandiose formats alike, and inevitably expressed its sorrow at the final price exacted by the Great War. Proof through the Night concludes with a consideration of the post-Armistice period when, on the classical music front, memory and distance forged a musical response that was frequently more powerful than in wartime. 606 $aWorld War, 1914-1918$xMusic and the war 606 $aMusic$y20th century$xHistory and criticism 608 $aElectronic books. 615 0$aWorld War, 1914-1918$xMusic and the war. 615 0$aMusic$xHistory and criticism. 676 $a780/.9/04 700 $aWatkins$b Glenn$f1927-$0781649 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910450285903321 996 $aProof through the night$92460116 997 $aUNINA 999 $p$89.25$u06/22/2018$5Music