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This book intends to reflect the variety and diversity of the
musical responses that arose in favour of the Republic and against
fascism during the Spanish Civil War (1936-1939), encompassing a
wide range of music (classical music, film music, popular music),
geographies (the US, the URSS, Britain, Germany) and individuals
(from well-known figures such as Paul Robeson and Dimitri
Shostakovich, to unknown men and women). In doing so, the book
expands upon existing bibliography on the Spanish Civil War, which
has enjoyed significant advances in the last fifteen years but has
paid limited attention to the international dimensions of such
musical activity. In particular, the six chapters of this book
together bring in pioneering perspectives to the study of music and
the Spanish Civil War (e.g., race issues), while at the same time
calling for an increased transnational approach to the study of
music and war more generally. Spain in our Ears will be of great
value to students and researchers interested in Spanish politics
and history, as well as the relationship between music and
politics. The chapters in this book were originally published as a
special issue of Journal of War and Cultural Studies.
Under the dictatorships of the twentieth century, music never
ceased to sound. Even when they did not impose aesthetic standards,
these regimes tended to favour certain kinds of art music such as
occasional works for commemorations or celebrations, symphonic
poems, cantatas and choral settings. In the same way, composers who
were more or less ideologically close to the regime wrote pieces of
music on their own initiative, which amounted to a support of the
political order. This book presents ten studies focusing on music
inspired and promoted by regimes such as Nazi Germany, Fascist
Italy, France under Vichy, the USSR and its satellites, Franco's
Spain, Salazar's Portugal, Maoist China, and Latin-American
dictatorships. By discussing the musical works themselves, whether
they were conceived as ways to provide "music for the people", to
personally honour the dictator, or to participate in State
commemorations of glorious historical events, the book examines the
relationship between the composers and the State. This important
volume, therefore, addresses theoretical issues long neglected by
both musicologists and historians: What is the relationship between
art music and propaganda? How did composers participate in musical
life under the control of an authoritarian State? What was
specifically political in the works produced in these contexts? How
did audiences react to them? Can we speak confidently about "State
music"? In this way, Composing for the State: Music in Twentieth
Century Dictatorships is an essential contribution to our
understanding of musical cultures of the twentieth century, as well
as the symbolic policies of dictatorial regimes.
Under the dictatorships of the twentieth century, music never
ceased to sound. Even when they did not impose aesthetic standards,
these regimes tended to favour certain kinds of art music such as
occasional works for commemorations or celebrations, symphonic
poems, cantatas and choral settings. In the same way, composers who
were more or less ideologically close to the regime wrote pieces of
music on their own initiative, which amounted to a support of the
political order. This book presents ten studies focusing on music
inspired and promoted by regimes such as Nazi Germany, Fascist
Italy, France under Vichy, the USSR and its satellites, Franco's
Spain, Salazar's Portugal, Maoist China, and Latin-American
dictatorships. By discussing the musical works themselves, whether
they were conceived as ways to provide "music for the people", to
personally honour the dictator, or to participate in State
commemorations of glorious historical events, the book examines the
relationship between the composers and the State. This important
volume, therefore, addresses theoretical issues long neglected by
both musicologists and historians: What is the relationship between
art music and propaganda? How did composers participate in musical
life under the control of an authoritarian State? What was
specifically political in the works produced in these contexts? How
did audiences react to them? Can we speak confidently about "State
music"? In this way, Composing for the State: Music in Twentieth
Century Dictatorships is an essential contribution to our
understanding of musical cultures of the twentieth century, as well
as the symbolic policies of dictatorial regimes.
How music embodies and contributes to historical and contemporary
nationalism What does music in Portugal and Spain reveal about the
relationship between national and regional identity building? How
do various actors use music to advance nationalism? How have state
and international heritage regimes contributed to nationalist and
regionalist projects? In this collection, contributors explore
these and other essential questions from a range of
interdisciplinary vantage points. The essays pay particular
attention to the role played by the state in deciding what music
represents Portuguese or Spanish identity. Case studies examine
many aspects of the issue, including local recording networks,
so-called national style in popular music, and music’s role in
both political protest and heritage regimes. Topics include the
ways the Salazar and Franco regimes adapted music to align with
their ideological agendas; the twenty-first-century impact of
UNESCO’s Intangible Cultural Heritage program on some of Portugal
and Spain's expressive practices; and the tensions that arise
between institutions and community in creating and recreating
meanings and identity around music. Contributors: Ricardo Andrade,
Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina
Sánchez-Carretero, José Hugo Pires Castro, Paulo Ferreira de
Castro, Fernán del Val, Héctor Fouce, Diego García-Peinazo,
Leonor Losa, Josep Martí, Eva Moreda Rodríguez, Pedro Russo
Moreira, Cristina Cruces Roldán, and Igor Contreras Zubillaga
How music embodies and contributes to historical and contemporary
nationalism What does music in Portugal and Spain reveal about the
relationship between national and regional identity building? How
do various actors use music to advance nationalism? How have state
and international heritage regimes contributed to nationalist and
regionalist projects? In this collection, contributors explore
these and other essential questions from a range of
interdisciplinary vantage points. The essays pay particular
attention to the role played by the state in deciding what music
represents Portuguese or Spanish identity. Case studies examine
many aspects of the issue, including local recording networks,
so-called national style in popular music, and music’s role in
both political protest and heritage regimes. Topics include the
ways the Salazar and Franco regimes adapted music to align with
their ideological agendas; the twenty-first-century impact of
UNESCO’s Intangible Cultural Heritage program on some of Portugal
and Spain's expressive practices; and the tensions that arise
between institutions and community in creating and recreating
meanings and identity around music. Contributors: Ricardo Andrade,
Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina
Sánchez-Carretero, José Hugo Pires Castro, Paulo Ferreira de
Castro, Fernán del Val, Héctor Fouce, Diego García-Peinazo,
Leonor Losa, Josep Martí, Eva Moreda Rodríguez, Pedro Russo
Moreira, Cristina Cruces Roldán, and Igor Contreras Zubillaga
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