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With the Industrial Revolution and the French Revolution, European nations made rapid progress in the fields of law, education, culture, army and economics, the fields that constitute the building blocks of states. The Ottoman Empire also embarked on reforms in order to catch up with Europe’s progress. The reforms introduced by Sultan Selim III in a variety of fields were made more comprehensive by Sultan Mahmud II. This study describes Sultan Mahmud II’s policies in the field of music. It reviews the relevant literature and historical documents from the Pera Museum, the Topkapı Palace Museum Archive and the Istanbul Rare Works Library Archive. This study found that Sultan Mahmud II implemented reform policies for music such as abolishing the Mehterhane, establishing the Muzika-i Humayun, using official anthems, hosting foreign musicians, providing members of the palace with education in Western music, having the bands participate in official ceremonies, and encouraging opera and theater. [ABSTRACT FROM AUTHOR]

The aim of the paper is to situate the most important open-air venues where music was performed on the map of interwar Warsaw. This includes venues in city parks, restaurant tea gardens, streets and squares where mass celebrations and demonstrations took place, as well as the courtyards of tenement houses frequented by street players and singers. In addition to live music, that coming from the radio, gramophone records, as well as megaphones installed in parks and streets has been taken into account. On the basis of press reports, taken mainly from the Kurier Warszawski (Warsaw's largest daily newspaper), as well as works of fiction and diaries, the repertoire of works performed in the open air has been reconstructed. The organisers and performers of concerts, open-air shows, and street marches during which music was performed have also been listed. The material is divided into contexts connected with the everyday life of Warsaw's bourgeoisie and working class (during which music, functioning independently or as part of theatrical, cabaret and film performances, functioned as entertainment) and those belonging to the official-public or ceremonial sphere (celebrations of religious and national holidays, military parades, spontaneous demonstrations of supporters of various political groups). Special emphasis has been placed on recreating the social and political context of the latter type of events, which highlight the role of interwar Warsaw as the capital of the state.

The article deals with the musical life of the 2nd Banal Regiment and of Militär-Kommunität Petrinja situated in the Croatian Military Frontier. In the first part of the article, the organisation of military musicians is presented and 486 individual identified musicians are listed, as well as the Regiment’s Kapellmeisters throughout the nineteenth century. The second part concerns Petrinja’s civilian musical institutions (Town Guard’s orchestra, Musikverein and the Croatian singing society »Slavulj«) and presents the circumstances of their respective foundations and their importance for Petrinja’s cultural and social life. [ABSTRACT FROM AUTHOR]

The history of military music records the work of several great personalities of the genre, capable soldiers and accomplished musicians. Their musical, organizational and military activity directly influenced the existence of military and civilian fanfare bands in Romania. Ioan Vlăduță is a representative name for the first half of the 20th century, going through all the stages from band boy, instrumentalist, conductor, band leader, to the supreme position of general inspector of Romanian Military Music. His life intertwined compositional, conducting and coordinating activity - both in peacetime and during the years of the First World War, at the front. [ABSTRACT FROM AUTHOR]

The article deals with the musical life of the 2nd Banal Regiment and of Militär-Kommunität Petrinja situated in the Croatian Military Frontier. In the fi rst part of the article, the organisation of military musicians is presented and 486 individual identified musicians are listed, as well as the Regiment’s Kapellmeisters throughout the nineteenth century. The second part concerns Petrinja’s civilian musical institutions (Town Guard’s orchestra, Musikverein and the Croatian singing society »Slavulj«) and presents the circumstances of their respective foundations and their importance for Petrinja’s cultural and social life.

Hundreds of military songs are credited to the Northeast Anti-Japanese United Army (NAUA). The NAUA was a coalition of Chinese and Korean guerrilla armies that operated in Northeast China during the Manchukuo period (1932–45). The NAUA used songs to teach and inculcate new behaviors in line with socialist and communist ideologies. Most importantly, the songs worked on an emotional level, meaning that they conveyed collective sentiments while also directing their appropriate expression in order to foster camaraderie and boost morale. Drawing from concepts formulated by historians of emotions, I argue that the NAUA became what Barbara Rosenwein terms an "emotional community." As such, the NAUA defied strict nationalist sentiments primarily due to the discursive power and easy dissemination of the military songs. The Chinese and Korean songs, along with their aesthetic features, have not been studied comprehensively. As literary products of a tumultuous era, the NAUA songs deliver historical evidence of the transnational and transcultural ideologies present in resistance groups across the Japanese empire. [ABSTRACT FROM AUTHOR]

Copyright of Mağallaẗ Al-Dirāsāt Al-Tārīẖiyyaẗ wa Al-Ḥaḍāriyyaẗ Al-Miṣriyyaẗ is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The musical repertoire accompanying military and official ceremonies is made up of works belonging to the genres of ostrich music: marches, hymns and odes. Ceremonial performances follow clear legislative specifications and are held on national holidays. These ceremonies are held in all the major cities of the country, in the presence of official and military officials and the general public. To the sound of brass band music, the highestranking officials are honoured and troops from the area's garrisons march past. The atmosphere becomes festive, solemn, commemorative and evocative. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Symphony orchestra of blowers, Representative Music of the Ministry of National Defense is today the performance standard in terms of wind bands in our country. Through its activity carried out during seven decades, the band crowned the creative, interpretative, educational and cultural values of the military music bands from the Romanian garrisons and military units. Having a repertoire that exceeds two thousand works from almost all musical genres (hymns, marches, patriotic and military songs, fantasies, potpourri, overtures, processing of songs and folk games, symphonic poems, symphonies, jazz, Romanian light music, etc.) from the creations of Romanian and universal composers, the wind symphony orchestra supported a rich concert, ceremonial and protocol activity, representing Romania in numerous national and international festivals. [ABSTRACT FROM AUTHOR]

Soldiering is an congenital feature of The Turks. The Turks, who have a rich past, have used music for the motivation throughout the history. The aim of the research is to make a general review of the use of music as a military motivation tool. In the research conducted with the method survey, investigations were made on the use of music as a military motivation both in the Turks and in the world. As a result of the research, it has been observed that music, which is used both as a prestige indicator and as a military motivation, contributes to military successes, especially on behalf of Turkish societies. [ABSTRACT FROM AUTHOR]

To talk about the music practiced in Moldavia during the reign of Stephen the Great and especially at his court is not an easy endeavor, precisely because of the poverty of sources. However, from the information available to us, a fairly obvious sketch can be drawn, especially when we put together different categories of sources, such as written sources and mural painting. Then we can see that the music at Stephen the Great’s court was no different in its essential aspects from the music at the court of any Western sovereign: military music, city or court music, entertainment music, church music or epic songs. Our attempt is a modest contribution to the knowledge about Stephen the Greatʼs time from the perspective of music, thus adding a different dimension to the study of his era. [ABSTRACT FROM AUTHOR]

19. yüzyıl başlarından itibaren Türk müziği tarihinin seyri ve yazımı, bir yandan Avrupa merkezci diğer yandan ise milliyetçi olmak üzere felsefi anlamda birbirine zıt olması beklenen iki anlayışın etkisi altındadır. Yakın tarihe bakıldığında bu etkinin sadece müziğin yapılma şekline değil, tarihini kaleme alma anlayışına da yön verdiği görülmektedir. Türk kültür tarihinin en güçlü geleneklerinden biri olan mehter ise bahsedilen etkinin görüldüğü en somut örneklerden birisidir. Özellikle müzik süreli yayınlarında askerî müzikle ilgili makalelerde milliyetçi ve Avrupa merkezci ideolojilerin izlerini en açık şekliyle izlemek mümkündür. 1920’li yıllardan itibaren doğrudan müzik odaklı olarak yayınlanan dergiler, bu ideolojilerin tarih yazımındaki kuramları gösteren önemli kaynaklardır. Bu nedenle bu dergiler, bu çalışmanın temel başvuru kaynakları durumundadırlar. Çalışmanın amacı, müziği ve tarihi anlamak, aktarmak noktasında, dönemi etkisi altına alan ideolojilerin nasıl çalıştığını mehter örneklemi üzerinden takip etmektir.

Existing research into Australian defence force bands, including that published by the Australian Defence Force itself, assumes that women were not eligible to join mainstream military bands until the 1980s. Prior to this, it was thought women's involvement in music in the Australia defence forces was limited to concert parties and membership of women's auxiliary ensembles. This article will show that, on the contrary, a small group of women played in Royal Australian Air Force (RAAF) bands during World War II. These women, members of the Women's Auxiliary Australian Air Force (WAAAF), were invited to join their local RAAF bands when overseas deployments limited the availability of male musicians. This study uses archival research, contemporary media reports and interviews with WAAAF veterans to explore the lives and duties of this previously unacknowledged group of defence force musicians. Despite being paid less than their male counterparts, this small group of women proudly played and marched on equal terms with the men when their country needed them, only to be excluded for another forty years once peace reigned. [ABSTRACT FROM AUTHOR]

Symphony orchestra of blowers, Representative Music of the Ministry of National Defense is today the performance standard in terms of wind bands in our country. Through its activity carried out during seven decades, the band crowned the creative, interpretative, educational and cultural values of the military music bands from the Romanian garrisons and military units. Having a repertoire that exceeds two thousand works from almost all musical genres (hymns, marches, patriotic and military songs, fantasies, potpourri, overtures, processing of songs and folk games, symphonic poems, symphonies, jazz, Romanian light music, etc.) from the creations of Romanian and universal composers, the wind symphony orchestra supported a rich concert, ceremonial and protocol activity, representing Romania in numerous national and international festivals. [ABSTRACT FROM AUTHOR]

The presence of musical ensembles aboard the ships of the Brazilian Navy in commissions of visits and di-plomatic representations in other countries of the late nineteenth century shows how the Navy sought to compose such ensembles in terms of personnel and material and aimed at training its musicians for the prac-tices that would take place in terrestrial units and in belonaves. Such practices, initially scattered in time and space during the nineteenth century, became more present from the initial experiences as the smaller appren-tices in the Arsenal of Navy of the Court. Soon after, more systematic with the institution of the band of the Corps of Imperials Seamen and the teaching of music in the Companies of Apprentice at the end of the Ei-ghth. It is a context in which music education in Brazil is a function of institutions central to this purpose, such as the Imperial Music Conservatory, founded in 1848, but which also takes place in other spaces, such as the Brazilian Navy.

When the Japanese attacked Pearl Harbor on the morning of December 7, 1941, they little realized what a formidable foe they had aroused. An enraged America immediately declared war on Japan. As a result, Germany declared war on America. Now facing enemies on both fronts, America mobilized her troops for action and prepared weapons of mass destruction. The unity experienced by the American people during this time had never been and would never be matched. Both soldiers and civilians launched themselves into the war effort. This great national endeavor called for anthems of reflection and encouragement. While they continued to sing national favorites such as "The Star-Spangled Banner" and "America the Beautiful," contemporary musicians wrote pieces that directly pertained to the country’s present trials and triumphs. New works remembering Pearl Harbor, praising the soldiers and comforting the sweethearts saturated the airwaves and were featured in performance venues. Music gave a tangibility and expression to the deeply felt emotional turmoil of the American people. They identified with and drew comfort from the subject matters it explored. Musicians such as Artie Shaw, Glenn Miller and the Andrews Sisters took tours entertaining troops at home and abroad, giving them courage and strength for the daunting fight they faced. When victory was finally achieved for the Allies on September 2, 1945, the people again turned to music as an outlet for their jubilant celebrations. Thus, music played a significant part in boosting American patriotism and troop support throughout the entirety of World War II.

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Václav František Červený became the founder of the Austro-Czech tradition of manufacturing chromatic brass instruments, which represented in their day an alternative to Adolph Sax's system. Červený's innovations were realised successively from the 1840s through the '80s. Many of these instruments are still being made and used mainly in the successor states of Austro- Hungarian Empire, Germany, and eastern Europe. The study focuses on Červený's main innovations. Thanks to the solving of the technical problems associated with instrument bodies with a conical bore, Červený succeeded at creating a complete family of wide-bored instruments ranging from the flugelhorn to the contrabass tuba. These instruments became the foundation of Austro-Czech wind music and of its style of instrumentation. [ABSTRACT FROM AUTHOR]

Peripherally military music—that is, music other than emphatic, duple-meter, trumpet-and-drum material—appears today in film scores, operas, and even musical comedies. In many cases it is overtly patriotic, but in others it can be used to entertain, or to express sympathy, or even as satire. The soundtrack for Victory at Sea (1952-53), jointly composed for American television by Richard Rodgers and Robert Rodney Bennett, represents various interrelated aspects of the history of military music: the topos itself; new forms of peripheral musical expression, many of them invented for Hollywood movies rather than concert performances; and the use of both non-military as well as combat-oriented music in the series' individual episodes, which simultaneously soothed American fears and confirmed the nation's economic success. [ABSTRACT FROM AUTHOR]

The subject of research in this paper is related to the lesser known period of the artistic activity of Kapellmeister and composer Franz Lehár in Pula, as the authors' contribution to the near 150th anniversary of composer's birth. Today primarily recognized as a composer of successful operett as, Lehár began his career as a military musician in Barmen/Elberfeld and Lučenec. He worked in Pula from 1894 to 1896 as Kapellmeister of the Naval Orchestra and as composer. The authors first highlight Lehár's work as Kapellmeister in the context of the socio-cultural milieu in Pula in the last decade of the 19th century. Following a detailed examination of the contemporary press in Pula, and above all into the Eco di Pola gazette, the repertoire of the orchestra under Lehár's guidance was reconstructed. Special attention has been devoted to Lehár's works composed in Pula. In addition to the repertoire typical for the oeuvre of a military Kapellmeister (marches, dances, potpourris), in this period, Lehár also composed in more demanding genres. Lehár's acquaintance with the opera composer from Pula Antonio Smareglia, with whom he spent much time talking about music, was of critical importance to Lehár as a composer, as was his acquaintence with naval offi cer and poet Felix Falzari. His new friends encouraged Lehár in his compositional work. Falzari wrote lyrics for his art song cycle Weidmannsliebe Op. 26, as well as the libretto for the opera Kukuschka. [ABSTRACT FROM AUTHOR]

This article offers a solution to a long-standing mystery surrounding the identity of a melody by Carinthian folkloric composer Thomas Koschat used by Mahler in his Fifth Symphony. It first places such musical reference in the broader scholarly context of Mahler and the volkstümlich. Evidence surrounding the chronology and sketches of the symphony as well as Mahler's intersection with Koschat and the latter's reception is assessed. Musical materials are analysed in order to identify the source of borrowing in Koschat's Liederspiel Am Wörther See (1880), and to understand the key structural and expressive roles it plays in Mahler's work. The article concludes by reflecting on the possible socio-cultural meaning and significance of this case of Mahlerian allusive practice. [ABSTRACT FROM AUTHOR]

This paper uses the concept of mimicry to explore the ways in which the tensions of empire were 'played out' through the West India Regiments' performance of military music and cricket. Both tools and products of the British Empire, cricket and military music could be used at cross-purposes and gained meaning and ideological significance in practice. Attention to the cultural practices of the West India Regiments sheds significant light on the connections between early twentieth-century social change and the dynamics of nineteenth-century colonialism. Moreover, it opens up new - and possibly counterintuitive - connections between Caribbean military history and scholarship on the social and cultural forces that have shaped Caribbean society. [ABSTRACT FROM AUTHOR]

When the Japanese attacked Pearl Harbor on the morning of December 7, 1941, they little realized what a formidable foe they had aroused. An enraged America immediately declared war on Japan. As a result, Germany declared war on America. Now facing enemies on both fronts, America mobilized her troops for action and prepared weapons of mass destruction. The unity experienced by the American people during this time had never been and would never be matched. Both soldiers and civilians launched themselves into the war effort. This great national endeavor called for anthems of reflection and encouragement. While they continued to sing national favorites such as "The Star-Spangled Banner" and "America the Beautiful," contemporary musicians wrote pieces that directly pertained to the country's present trials and triumphs. New works remembering Pearl Harbor, praising the soldiers and comforting the sweethearts saturated the airwaves and were featured in performance venues. Music gave a tangibility and expression to the deeply felt emotional turmoil of the American people. They identified with and drew comfort from the subject matters it explored. Musicians such as Artie Shaw, Glenn Miller and the Andrews Sisters took tours entertaining troops at home and abroad, giving them courage and strength for the daunting fight they faced. When victory was finally achieved for the Allies on September 2, 1945, the people again turned to music as an outlet for their jubilant celebrations. Thus, music played a significant part in boosting American patriotism and troop support throughout the entirety of World War II. [ABSTRACT FROM AUTHOR]

Copyright of ANAFORA is the property of Anafora and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose The purpose of this paper is to propose and introduce a new classification model to segment a nation’s cultural tourists based on their motivations to travel to a military music festival. Little research is apparent about the types of people, and their motivations, who attend these types of festivals. In addition, the research investigates the impact of military music festivals on the concepts of patriotism and national identity.Design/methodology/approach The research approach involves empirical testing of a Canadian audience attending the Royal Nova Scotia International Tattoo, a longstanding annual musical event held in Nova Scotia, Canada, that pays tribute to the country’s military heritage. A proposed classification model that includes two dimensions is applied, which investigates: motivation to attend the event and kinship to Canada’s military and naval traditions.Findings Findings provide a better understanding of the diversity of the Canadian cultural tourist audience attending a military music display in terms of tourists’ demographics, experience of the show and the desire to return. This research also provides new insights as to the ability of a military musical event to arouse emotions of national pride, patriotism and strengthen national identity.Originality/value This research is important to event sponsors and organizers of military music events as they attempt to maintain productivity and attendance growth in an increasingly competitive entertainment environment. [ABSTRACT FROM AUTHOR]