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Music of War
Resources, Patriotism, Propoganda and Protest

First Nation Songs, Civil War, WW1, WW2, Military War music Patriotic, Protest and Union Songs

The scrolls depicted ceremonial songs "concerning the most fundamental laws and needs of the [Ojibwe] people." A group of elders has confirmed that they are long-lost records of the Bois Forte lodge of the Midewiwin, or Grand Medicine Society, a selective Ojibwe religious order that preserved its rites on birch bark and was driven underground for most of the 20th century, when Indian religions were outlawed by the U.S. government. experts who have studied similar scrolls say they most often contain "mnemonic," or memory-aiding symbols, to recall songs among a people with no written language. Similar scrolls were destroyed by missionaries and others during the century that the Midewiwin was outlawed.

Star Spangled Banner Lesson Plan
Musical Vocabulary Links:  Learning by Association and Repetition Teach The Star Spangled Banner - The method can be used by parents, by school volunteers working with individuals or groups, and by teachers in classrooms. Two basic memory techniques are association (linking new learning to previous knowledge) and repetition. This method can be adapted for any age and any language.

The Battle Hymn- of the Republic Americas song of itself The USA's "second national anthem" "The Battle Hymn of the Republic," written by Julia Ward Howe in 1861 is a warrior's cry and a call to arms.It was a fitting finale to the life of a great American because the story of the "Battle Hymn" is the story of the United States. The song, now approaching its 150th anniversary, is a hallowed treasure and a second national anthem. The "Battle Hymn" has inspired suffragists and labor organizers, civil rights leaders and novelists—like John Steinbeck in The Grapes of Wrath. The editor of the Atlantic Monthly, James T. Fields, paid Howe five dollars to publish the poem, and gave it a title: "The Battle Hymn of the Republic." You can listen here to a 1908 recording of the song from "The Edison Phonograph Monthly," featuring "Miss Stevenson, Mr. Stanley and Mixed Quartette." But most of all, the "Battle Hymn" is a warrior's cry and a call to arms. Its vivid portrait of sacred violence captures how Americans fight wars, from the minié balls of the Civil War to the shock and awe of Iraq.

Irving Berlin wrote "God Bless America" Sung by Kate Smith.

Irving Berlin (1888-1989) wrote "God Bless America "Initially, he wrote it in 1918 for his WWI revue "Yip, Yip, Yaphank." It was cut from that show, but Berlin reviewed it with slightly revised words in 1938. It was introduced during a nation-wide radio broadcast by Kate Smith on Armistice Day, 1938. Musically, I would agrue that it really is a great song, and far less bellicose than the Star Spangled Banner. To his credit, Berlin donated all royalties from it to the Boy and Girl Scouts of America.

God Bless America.
Land that I love
Stand beside her, and guide her
Thru the night with a light from above.
From the mountains, to the prairies ,
To the oceans, white with foam
God bless America
My home sweet home.
God Bless America.
Land that I love
Stand beside her, and guide her
Thru the night with a light from above.
From the mountains, to the prairies ,
To the oceans, white with foam
God bless America
My home sweet home.
God bless America
My home sweet home.

Yankee Doodle Dandy
by George M. Cohan

 

I'm a Yankee Doodle Dandy
A Yankee Doodle, do or die
A real live nephew of my Uncle Sam
Born on the Fourth of July

I've got a Yankee Doodle sweetheart
She's my Yankee Doodle joy
Yankee Doodle came to London
Just to ride the ponies
I am the Yankee Doodle Boy

Dinah Shore Sings America The Beautiful

Mel Brooks does Frank doing AMERICA THE BEAUTIFUL

 

CIVIL WAR

Historical Civil War and Patriotic Music

Civil War Music Library of Congress

The Origin of the song "Dixie"

 

I. W. W. song tradition -- historical background and foreground resources:

• Archie Green's Wobblies, Pile Butts, and Other Heroes (U of Illinois Press, 1993), Part Two, chapter 3: "The Name 'Wobbly' Holds Steady."  It is a thoughtful, readable discussion of the IWW's history, nickname and songs and a preface to the centennial edition  of _The Big Red Songbook_ forthcoming from Charles Kerr Publishing  Co.
• The Little Red Songbook:
  Songs to Fan the Flames of Discontent, the best primary source you can find.
• "AMERICAN FOLKSONGS OF PROTEST" BY JOHN GREENWAY. A.S.BARNES AND COMPANY,
  INC. NEW YORK. PERPETUA EDITION. 1960. (THERE ALSO WAS A UNIVERSITY OF PENNSYLVANIA EDITION, 1953.)
  IN THE 1960 A.S. BARNES AND COMPANY PERPETUA EDITION, THERE IS IWW DISCUSSION OF Pp.S 9n; 11; 13; 50; 56; 173-199; 202; 203; 211; 253; 264; 283.
• Show Tunes - 'm a Yankee Doodle Dandy  + You're a Grand Old Flag -- George M. Cohan and Over There

The origin of the American brass band tradition

The upper-class during the colonial era promoted ensembles who played serenades, feldparthien and divertimenti, such as those composed by Mozart and Haydn. Natural horns and bassoons provided harmonic support for the melodic line, played by clarinets and oboes. Thomas Jefferson suggested this instrumentation for the U.S. Marine Band, and asked fourteen Italian-American musicians to form the nucleus of that influential group, and thus these ensembles were the origin of the American brass band tradition, which flourished in the 19th century, having moved from upper-class entertainment to that of the common folk.

Music Has A National Character

Music has a national character Music: The international language - Summary
There seems to be something distinctly English about Elgar's Pomp and Circumstance march, which concert-goers accompany with a lusty rendition of the anthem Land of Hope and Glory. Music has a national character, says AniruddhPatel of the Neurosciences Institute in San Diego, California. Put simply, music echoes speech.
Patel and his colleagues came to this conclusion after comparing the rhythms and pitch variations of English and French music and speech, focusing on the classical music of the late 19th and early 20th centuries. This was a time when many composers were actively seeking to express their own nationality, so national musical characteristics might be expected to be particularly prevalent. Patel and his colleague Joseph Danielestarted their analysis by looking at rhythm. The rhythms of everyday speech are notoriously hard to codify, but there is a measure called the normalised pairwise variability index (nPVI), devised by linguists Esther Grabe of the University of Oxford and her colleagues Low Ee Ling and Francis Nolan. This index measures the variation in length between successive vowels in a spoken phrase. Grabe and others have shown that the average nPVI of British English is significantly higher than that of French. That is, adjacent vowels in English tend to have rather different durations - long and then short, say - whereas in French the durations are more similar.
So can the same pattern be seen in musical rhythm? When Patel and Daniele examined the patterning of note duration in their music samples, they saw no clear national bias in nPVI among individual composers, but when they averaged the values for all composers from each country, they found a significant difference. As with speech, the nPVI of the English music was higher than that of the French selection.
Pitch proved more difficult to analyse. Linguist Piet Mertens of the Catholic University of Leuven (KUL), Belgium noted that the pitch perceived by listeners for a given syllable is largely defined by the average pitch of the syllable's vowel. So a spoken sentence can be reduced to a series of steps between these pitches.
Applying this to French and English, Patel's team found that although the average change in pitch between two syllables is the same in each language, there is more variation in English the variation from the average interval tended to be greater for English composers.
Why should music share these acoustic similarities with speech? Patel thinks that the latter probably shapes the former. Composers, he suggests, absorb the speech patterns - the contours of pitch and rhythm - that they have heard since childhood, and unconsciously build these into their music.  Patel's latest work shows that the contingencies of history, as well as the exigencies of nationality, can play a part.
His methods are now being used to study the rhythms in speech and music of other cultures, such as Welsh and Japanese. "One of our group's interests is in Thai music," says Patel, "since Thai has a high linguistic nPVI, and Thai culture has a well-developed classical instrumental musical tradition." What's more, Thai is a tonal language and Patel is keen to discover if that is reflected in the country's music. He also hopes to study the music from cultures in which the music is not written down, such as those in many African countries, to find out whether the link with language patterns still emerges.

Patriotic Medley Featuring the Military Bands

 

Barbra Streisand Sings Hatikvah Isreal's National Anthem
and Speaks to Golda Meir

 

CARLA L. BENSON
Listen to First Lady of Philadelphia Soul
Carla L. Benson Sings Hatikvah Isreal's National Anthem

 

Hawaiian War Chant

learn about Hawaiian Pidgin Creoles

Interdisciplinary connections between Language, Music, Evolution, Reading

Mexican Folk Music about Terrorism
Narco-Corrido Music
NPR Morning Edition Monday, November 19, 2001 NPR's Renee Montagne talks with Elijah Wald. He's a musician who's spent years researching Mexican "narco-corrido" music -- ballads made from combining waltzes with border music that celebrate the lifestyle of borderland drug traffickers. (8:59)
Morning Edition Tuesday, November 20, 2001 Terror Corridos
NPR's Mandalit Del Barco reports on the latest innovation in the history of corridos, Mexican ballads with tragic lyrics and polka-and-waltz-like beats. Corrido composers are struggling with how to write songs about the acts of terrorism that struck the United States on Sept. 11. (8:17)

PROTEST MUSIC

 

 

BEATLES REVOLUTION AND GIVE PEACE A CHANCE

STANDING IN THE SHADOWS OF MOTOWN WHAT'S GOING ON

Jimmy Cliff
Kirschner Concerts Present Jimmy Cliff The Harder They Come

 

Protest Music

 

This painting of the 21st Century Schizoid Man appears on the cover of the 1969 record album "Court of the Crimson King" by the British progressive rock group King Crimson. The band's leader, Robert Fripp, later linked the painting with the LP's cacophonous jazz-metal opener, 21st Century Schizoid Man – a dystopian montage of horrific images in which lyricist Pete Sinfield conflated the first world war with that of Vietnam. The song was dedicated to the former US vice president Spiro Agnew, bane of anti-war protestors in the first Nixon administration. King Crimson's debut album, In the Court of the Crimson King, which celebrates its 40th anniversary on 10 October 2009. Painted by a young artist and computer programmer named Barry Godber, the pink and blue gatefold sleeve depicted the face of a humanoid creature, flinching from some terrible torture.

"Cat's foot iron claw
Neuro-surgeons scream for more
At paranoia's poison door
Twenty first century schiziod man.

Blood rack barbed wire
Politicians' funeral pyre
Innocents raped with napalm fire
Twenty first century schiziod man.

Death seed blind man's greed
Poets' starving children bleed
Nothing he's got he really needs
Twenty first century schiziod man."
Peter Sinfield

 

2000 WALL STREET PROTEST SONGS

James McMurtry "We Can't Make it Here"

 

Labor Union Songs

Utah Phillips - Bruce "Utah" Phillips (b. May 15, 1935 in Cleveland, Ohio) is a labor organizer, folk singer, storyteller, poet and self-described "Golden Voice of the Great Southwest".  Ani di Franco & Utah Phillips - The Past Didn't Go Anywhere

a story that give the advice that you must make your own decisions and think for yourself.
He describes the struggles of labor unions and the power of direct action. He often promotes the Industrial Workers of the World in his music, actions, and words. Anyone know and that name Ammon Hennacy? Utah wrote a song about him.

 

Union Songs
In 1979 Joe Glazer founded the Great Labor Arts Exchange at the George Meany Center for Labor Studies, now the National Labor College. In 1984 he helped found the Labor Heritage Foundation, a non-profit arts and culture organization which assists the labor movement by promoting artistic expression and labor history. In 1973 Joe wrote "Songs of Work and Protest" with Edith Fowke , one of the most significant labor history songbooks ever written.
Today Joe Glazer, Labor's Troubadour, died.
September 19, 2006.
"I dreamed that I had died
And gone to my reward
A job in heaven's textile plant
On a golden boulevard.
The mill was made of marble
The machines were made of gold
And nobody every got tired
And nobody every grew old."

From: The Mill was Made of Marble
Words and Music by Joe Glazer, 1918-2006
AFL-CIO Songbook, rev. 1974
Tenth Printing

Union Maid

1970 Joni Mitchell

Joan Baez - We Shall Overcome

 

ANTHEMS

 

 

 

Horst-Wessel-Lied The anthem of the Nazi Party from 1930 to 1945

Marx Brothers Duck Soup War Song

Woody Guthrie
during World War Two wrote "Round and Round Hitler's Grave"
"Acres of Clams"and also wrote "This Land." (This Land Is Your Land) as a poem,and the arrangement utilizes the melody of A. P. Carter's "Little Darling Pal of Mine." There's not an iota of difference. But Guthrie had grace when questioned. Of Carter he said, "He was a great song stealer, but I was greater than he, because I stole some of his." This Land Was Made For You And Me

Vietnam Veterans Oral History and Folklore Project
For bibiography, sources for recordings, articles

• Joan Baez singing and talking during the Vietnam era
• Barry McGuire's "Eve of Destruction"
• The Harry Smith Anthology
• The Memphis Jug Band (World War I songs);
• Buffy Ste. Marie
• Donovan's "Universal Soldier
• Bob Dylan
• " MacNamara's Banned"
• " Romping Through the Swamp" Dave van Ronk and the Hudson Dusters
• "Knee Deep in the Big Muddy" Pete Seeger
  The Incomplete Folksinger by Pete Seeger
  trace Pete's thinking and his activities in from right after World War Two on through the 1970's
• " God Bless the Grass" Malvina Reynolds

 

Literature -- Books/Song Collections

Ron Cohen's "Rainbow Quest: The Folk Music Revival and the American Society,
1940-1970" (Amherst: U of Massachusetts Press, 2002)

Agnes "Sis" Cunningham & Gorden Friesen (ed. Ron Cohen). "Red Dust and Broadsides: A Joint Autobiography." (Amherst: U of Massachusetts Press, 1999), which has lots about the publication, "Broadside," that carred anti-war songs.

Josh Dunson's "Freedom in the Air: Song Movements of the '60s." (New York: International, 1965).

Sing Out! archive (1950 to present), published by People's Songs, which carried many songs, Pete Seeger's Johnny Appleseed submissions to Sing Out!

"Little Sandy Review," "Boston Broadside" (1962-1968)

Caravan (1957-1958; mostly NYC scene).

R.Serge Denisoff's book Great Day Coming: Folk Music and The Amercian Left

Woody Guthrie: A Life by Joe Klein talks about Woody's thoughts about War, Peace and protest before and after World War Two

Atomic Platters: Cold War Music [sadly you need Real Player]
http://www.atomicplatters.com/
Along with ushering in a new age of global unrest and high anxiety, the emergence of the atomic bomb had a curious and not totally unpredictable effect on the world of popular (and not-so-popular) music. This site brings together these various subgenres of "atomic" music in a way that's rather fun, intriguing, and at times, a bit scary. Visitors can look through such subgenres as "Atomic", "Cold War", "Flying Saucer", and so on. While most of the songs are not available in their full form, visitors can read all of the lyrics and interpretive essays. Of course, visitors can find plenty of audio joy at the "CONELRAD Audio Archives" area. Herein are contained such gems as the positively odd "The Complacent Americans" and the equally lovable novelty album "The Goldwaters Sing Folk Songs to Bug the Liberals"

2011 SONGS
AFTER THE WALL STREET CRASH AND OCCUPY WALL STREET

James McMurtry "We can't make it here"

 

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