Sounds of War: Music in the United States during World War IIAnnegretFauser. New York: Oxford University Press, 2013.

Abstract

Sounds of War: Music in the United States during World War II Annegret Fauser. New York: Oxford University Press, 2013.World War II was an unprecedented example of total war. Everyone is familiar with the mobilization effort that brought homemakers onto the bomb assembly line and drew children into scrap metal drives. The efforts of serious musicians are less well-known and Annegret Fauser's detailed and well-researched account permanently document their contributions.Although the motion picture industry was early seen as a natural adjunct of the war effort, Fauser discovered that even though government and military officials thought music important, composers and musicians needed to articulate the ways they might contribute. She located surveys conducted by such organizations as the League of Composers to solicit ideas for war time roles. Although some respondents expressed concern over the potential for nationalism to usurp art, most wanted to contribute their skills.A tradition of military bands meant that instrumentalists sometimes found a place awaiting them. Outstanding string players, pianists, and vocalists also had a chance of getting assigned to orchestras, such as the US Marine Band Symphony Orchestra. While bands might perform to bolster morale in training camps and at bases, orchestras, with programs featuring classical music and famous soloists, performed more publicly in concert seasons that were often broadcast.One sponsor of such broadcasts was the Office of War Information which utilized them in programs incorporating political messages broadcast to Axis countries. However, the musical recordings and broadcasts were themselves seen as a way of proving that Americans had we 11-developed appreciation for music, countering Nazi propaganda that the United States was a cultural wilderness. For this reason, the Office of War Information also targeted Allied countries, as well as parts of Africa, and other non-Wes tern nations. Because radio broadcasts were not always viable, record libraries of the Office of War Information own pressings, as well as donated recordings were assembled and sent overseas.Even the US State Department established programs to employ music in international relations, looking beyond the war, to develop long-term allegiances founded on music. Other countries had a history of exploiting music in cultural politics, but not until World War II did the United States government begin funding musical activities to compete for public opinion. According to Fauser, Latin America was a particular focus because of the strong German and Italian influence in the region. …