Military Songs Research Articles

KEYWORDS IN TERMS OF FREQUENCY AND THEMATIC RELEVANCE

The article focuses on the role of keywords, their statistical data for determining the thematic dominance when working with large arrays of texts. The description is based on the materials of a typological linguistic study of the texts of military songs, the period of 1939-1945, in English and Russian. The selection of keywords was carried out on the basis of semantic, lexical-syntactic, morphological analysis, taking into account the frequency of their use. The frequency of using a word may not always be a defining feature for marking it as a keyword. Within the framework of one text, the keywords may be words that help understand the sense, unravel its deep meaning, remember the content. When combining a large number of texts, by authorship, chronology, thematic, stylistic or other relatedness, the frequency of keywords matters and can serve as a determining factor, a classification criterion. This paper shows that the results of the thematic distribution of texts based on the semantic analysis of their content correspond to the results of statistical analysis of the keywords and are confirmed by machine quantitative indicators of their frequency. The results are relevant for both Russian-language and English- language materials.

Cris et onomatopées dans l’oeuvre d’Antonius Arena

Dans son manuel de pédagogie chorégraphique, Ad suos compagnones (1531) et ses mémoires intitulés Meygra Entrepriza (1537), Arena élabore une bande-son du théâtre de la guerre avec le fracas de l’artillerie et les chants militaires, et de la salle de bal avec la musique et les frappements de pieds. Cette illustration sonore exploite tous les procédés vocaux qu’offrent le latin, l’italien et l’occitan. Tout en soulignant les affects humains, l’auteur parvient à transcender la triglossie macaronique pour parler à l’oreille de ceux qui ignorent le latin et à porter jusqu’à nous l’écho lointain d’une Renaissance mère des armes et des danses.

러시아 군가 연구 - 군가 ‘카츄샤’의 확장과 변이를 중심으로 -

Military songs are known as songs to raise the morale of soldiers. However, military songs have different meanings in that they contain the historical, social background, perspectives, social atmosphere of the time and musical elements such as lyrics and melody. Military songs, like other songs, can be viewed as a cultural phenomenon beyond the music format shared within the military organization. It is constantly interacting with society and history, its forms and social contents are constantly changing with society. This article looks over the process and result of cultural transfer focusing on the Russian military song 'Katyusha'. 'Katyusha' has been accepted in various ways and forms in many countries since its creation in 1938 even though it started in the genre of military song. The reason why transfer and changes in melody and lyrics of Katyusha happened is that the will and goal of the users were actively reflected and realized in the process of cultural acceptance. The value of this article is that it examines the phenomenon of cultural transfer from user’s perspective, unlike the previous studies focusing on view of culture producers based on postcolonial and gender-oriented studies. In particular, it is meaningful in that it can present a new perspective in the study of the process of transfer and acceptance of Korean culture, which started from Hallyu and has been growing into a global K-culture.

Wartime songs: An attempt at genre analysis

The article analyses Bakhtin’s theory of artistic text, using the example of mid-20th-c. Russian military songs (‘Granada’ [‘Grenada’], ‘Little Eagle’ [‘Orlyonok’], ‘Far Away, Across the River’ [‘Tam vdali, za rekoy’], ‘The Sacred War’ [‘Svyashchennaya voyna’], ‘Dark Is the Night’ [‘Tyomnaya noch’], etc). Focusing on Bakhtin’s idea that an artistic word recalls and reestablishes archaic genres, the researcher examines if a similar tendency can be traced in military song lyrics. A genre analysis shows that the lyrics tend to resurrect the seemingly forgotten archaic techniques of epic distance, epic monism, and syncretism. Russian wartime songs draw on and reinvent the genre features of biblical poetry, classical epics, and Byzantine rhetoric. Which element is responsible for this revival of the archaic? Upon examination of Bakhtin’s key theses, the author finds that Bakhtin’s concept of ‘great time’ is language. The poetics of military songs conforms to the ideas proposed by Bakhtin that an artistic text revives the archaic as a result of a subconscious language instinct.

The Cultural Representation and Evolution of Military Songs : Military Song Creation after the Government Moved to Taiwan

<p>「軍歌」是被許多人傳唱的時代戰歌，不僅僅是集體經驗的複製，也塑造及反映出臺灣的歷史脈絡與社會運作的軌跡。本研究試從音樂解讀的視角，以中華民國中央政府遷臺後之傳唱軍歌作為研究主體，並將軍歌依創作時期、歌詞內容及其所呈現的文化表徵區分為沿用大陸時期（1912～1949）、反共復國期（1950～1971）、儲備發展期（1972～1986）、解嚴民主期（1987～2005）、全民國防期（2006～迄今）。根據研究，軍歌流變之影響，除了與社會現況及社會變遷有關，亦隨著兩岸關係、國防政策的轉型呈現出不一樣的樣貌。從軍歌各個創作時期的內容以及近年的發展來看，軍歌的創作內涵和臺灣社會的變遷有著絕對的關聯；隨著民主、開放及各種文化相互激盪的社會來臨，軍歌嘗試從傳統典範中破繭而出，融入更多元素與想像來回應社會的多元性，但不變的是，軍歌傳達理念、揭示歷史的手法及其既有的社會功能，都讓軍歌以文化載體的姿態持續記錄著軍中與社會的形貌。</p> <p> </p><p>“Military songs” in Taiwan is a battle hymn of the times that is sung by many people. It is not only a copy of collective experience, but also shapes and reflects Taiwan’s historical context and social operations. According to the period when the military song was created, it includes the continuing to mainland china period (1912-1949), the anti-communist recovery period (1950-1971), the comprehensive development period (1972-1986), the lifting of the martial law and democracy period (1987-2005), and the national defense period (2006 to present). The military song is different with the cross-strait relations and national defense policy. According to this conclusion, the creative connotation of military songs has an absolute influence on the transformations of Taiwanese society. The modern military songs try to break out of the traditional paradigm and incorporate more imagination to respond to the diversity of society. However, the way military songs convey certain ideas still has social functions, which is unchanged, and it continues to record the appearance of the military and society.</p> <p> </p>

신흥무관학교의 노래로 본 항일노래의 창작·공유·전승

The Shin’heung Military Academy, which was opened in June 1911 in the West Gando region and continued to operate through the 1920s, was a training facility for the Independence Army troops. This academy is also known to have created Anti-Japanese songs, while spreading other Anti-Japanese songs composed at the time as well. All the songs created here include the most representative Independence Army Troop Song which also served as the Shin’heung Military Academy’s School Anthem, as well as two other ‘Community songs’ for the Shin’heung Academy alumna. The Academy had these songs played everyday to motivate the students and graduates, intending to nurture their determination to fight the Japanese.<BR> Yi Gwang-su’s poem ‘Shillagweon,’ which had been published through the The Journal of Shin’heung Alumni(Shin’heung Gyo’u-bo), was given a melody and became an Anti-Japanese song. The song helped promote patriotism and national determination that would encourage the Korean people to reclaim their beloved country and most of all regain their independence. The School Anthem for the Shin’heung Military Academy and ‘Shillagweon’ were not only sung by people, but the lyrics were published in the Selective Collection of Songs, which was a lyrics collection that came out in the 1920s. Meanwhile, other songs shared and spread by the Shin’heung Military Academy included Aegukga-type songs such as Jeongshin-ga and Aeguk-ga(“화려강산 동반도는”), as well as Military Songs such as Boy and Men, Thinking our Country, The Independence Army Marching Song, and also songs that were sung at anniversary gatherings, such as Commemorating the National Shame and Crossing the River, etc.<BR> These songs spread to foreign regions as well, like the Manchu region and China, where Koreans off the peninsula were living in communities. In reflection of their time and location, some of the lyrics were modified and then communally sung, and continued to be appreciated till the liberation, eventually becoming iconic Anti-Japanese songs. Meanwhile, after the Academy was closed, people from the Shin’heung Military Academy continued to operate in other areas, and created their own Anti-Japanese songs. We can see all these songs were also appreciated by the following generation.<BR> This article was able to newly identify ‘Shillagweon’ as a song created by the Academy, and confirm that the Aegukga of the Boseong Middle school was relayed to the Shin’heung Military Academy through Yun Gi-seob.

Representative Music of the Ministry of National Defense – decisive presence in the Romanian cultural and musical evolution

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.

Фольклорная и патриотическая тематика в советских джазовых композициях 60–70-х годов ХХ в.

This article examines the influence of folklore on the works of Soviet jazz composers. Musicians, ensembles and jazz orchestras of various republics of the former USSR actively introduced into their repertoire both arrangements of folk songs and original pieces with a national flavor. An outsize proportion of improvisations in these compositions gave an extraordinary appeal to this music. Also, the article mentions the popularization of famous military songs by jazz bands and singers during the Second World War. Many famous world stars also replenished their repertoire with Russian melodies. Since the 50s, Russian composers have been paying increasing attention to the creation of plays with a folklore flavor. Such pieces bring popularity to jazz groups. This is facilitated by the development of the jazz festival movement in Moscow, Leningrad and the capitals of the Union republics. In conclusion, about the influence of folklore themes on the formation of the creativity of modern jazz performers.

Propaganda and Agitation Patterns of Japanese Imperialism in Military Songs Sung by Baek Yeon-Seol

Propaganda and Agitation Patterns of Japanese Imperialism in Military Songs Sung by Baek Yeon-Seol

일본 군가의 침윤성

Today, the origin of music stemmed from the military and such music was also mobilized during the war. We need to consider the nobility and weight of peace without ignoring those kinds of mobilized music as a lesson in history. It was in the 1860’s that Western music introduced in Japan. And its origin was military music trumpets and drums aimed at the discipline and integration of the military and the people. Japanese music now exists as a form of transformation of such military music under the influence of the stream of history or social conditions. Some are continuous and others are cut off and stopped on the border of the Fifteen Years War. Based on those, we can figure out various aspects of music, how much precious and scary, Japanese are enjoying today. This paper deals with the Japanese military songs, popular songs played all over the wars, and media trends cultivating such moods in the framework of war and music. Furthermore, the characteristics of permeation of Japanese military songs are examined thoroughly, considering the responsibility of war in the music industry. Thinking over the music in wartime, we can feel the silent echoes of treacherous obedience of Japanese ordinary people. Besides, we can be aware of the fact that features of permeation of military songs never fade away but just chronic when listening to the songs like Sheena Ringo’s NIPPON or RADWIMPS’ HINOMARU which represent a throwback to the wartime.

한국광복군 군가 연구

한국광복군 군가 연구

Military Songs in the Northern Part of the Transylvanian Plain

"The traditional farewell from men starting their military service belongs to those folk customs, which are remembered only by the older generations. Up to the suspending of mandatory military service in the Hungarian language area, therefore in the Northern part of the Transylvanian Plain as well, the day before the send-off a festive dinner and dance party was organized at the house of the recruit, then in the morning he was accompanied to the railway station with music. The melodies of this custom are quite varied, while the most common starting lines are: “They are cutting (or cleaning) the forest roads, / Taking away our Hungarian boys.” Keywords: Military Songs, Transylvanian Plain, army, custom."

AS CANÇÕES MILITARES EM TREINAMENTOS POLICIAIS

Este artigo tem o objetivo de apresentar uma revisão de estudos sobre canções militares realizados no ano de 2018 por alunos do “Curso de Pós-Graduação Especialização lato sensu Polícia e Segurança Pública” concomitante ao curso de formação profissional coordenado pelo Comando da Academia da Polícia Militar de Goiás que aconteceu em vários municípios do Estado. A pesquisa focou nas canções não oficiais, isto é, aquelas que são improvisadas ou não estão regulamentadas em manuais ou normas institucionais da corporação, mas que mesmo assim são entoadas nos cursos de formação profissional durante os treinamentos, sejam em marchas ou corridas. Os estudos revisados evidenciam que os cânticos são ferramentas empregadas cotidianamente nos cursos de formação e especialização de policiais militares para a socialização dos novatos que ingressam as corporações e, de acordo com as percepções dos militares, produzem efeitos positivos no desempenho das atividades físicas.

Zhu Jian’er’s life creativity: the historiography of the composer’s personality

Zhu Jian’er’s life creativity: the historiography of the composer’s personality

The Enshrinement Ritual and its Music and Dance at Joseonsingung - Propaganda for the Japanese Government General of Korea -

이 글은 1925년에 집행된 조선신궁의 ‘진좌제(鎭座祭)’와 1935년에 거행된 ‘진좌 10주년제’를 중심으로, 제사의 절차와 이에 수반된 악무의 종류 및 성격, 그리고 사용된 악무와 조선총독부 정책과의 관련성에 대해서 살펴보았다. 진좌제 의식에서 사용된 음악은 일본 군가와 가가쿠(雅樂)이다. 군가 <나라의 진호(國の鎭め)>는 야스쿠니신사 참배용으로 경신(敬神)과 천황에 대한 충성을 주요 내용으로 하고 있다. 또한 궁중음악인 가가쿠는 황실의 표상으로 그 어떤 음악보다 국가신도의 제사에 적합한 음악이었다. 진좌제 당시 경성 시내에서는 2만 명 이상의 학생과 경성부민이 주야로 <진좌제 봉축의 노래(鎭座祭奉祝の歌)>를 부르며 행진했는데, 총독부는 경신숭조를 노랫말의 골자로 하는 이 곡을 퍼뜨리기 위해 각별한 노력을 기울인 것으로 이해된다. 진좌 10주년제 의식에서는 가가쿠의 연주와 <닌조마이(人長舞)>가 연행되었다. 이를 위해 궁내성 식부직 악부의 총 인원 2/3에 해당하는 악사들이 파견되었는데, 이는 일제가 조선신궁의 제사에 얼마만큼 공을 들였는지를 짐작케 한다. 제사 후에는 천황 위세의 흠앙과 경신숭조의 이념을 담고 있는 신작 가구라(神樂) 4곡과 <조선신궁 봉찬창가(朝鮮 神宮奉贊唱歌)>가 봉납되었다. 이 곡들은 노랫말의 현상모집, 음반 발매, 라디오 방송을 통해 확산되었다. 진좌 10주년제에는 이왕직아악부의 음악과 춤, 제주도 해녀노래, 조선 사자춤, 김포군 풍년춤, 양주군 산대도감이 ‘봉납 예술’로서 연행되었다. 총독부는 궁중 악무부터 민간 연희까지 폭 넓은 범위에 이르는 조선 악무를 일본 신사인 조선신궁에서 연행하게 함으로써 내선일체(內鮮一體)의 식민통치 이념을 보다 효과적으로 주지시키고 선전하고자 했다. 또한 일본의 악무 가구라의 연행자에 조선인들을 포함시켰는데, 이는 1930년대 이후 더욱 강화되는 동화정책을 악무 활용을 통해 보여주고 있는 사례이다. 이와 같이 진좌제와 진좌 10주년제에서 연행된 악무는 조선총독부 통치이념을 선전·선동하기 위한 중요한 도구로 활용되었다.This paper explores the enshrinement ritual of a Japanese Shinto Shrine, Joseonsingung, in the year 1925 and the ritual carried out in 1935, marking its 10th anniversary, focusing on the ritualistic acts, the accompanying music and dance in relation to the policies by the Japanese Government General of Korea. The music that were used in the enshrinement ritual were Japanese military songs and Gagaku. The military song Ku ni no shi zu me , which was used in the Yasukuni Shrine, features worship and loyalty towards the Japanese emperor. Also, the music representing the imperial court, Gagaku, was most suitable that for the rite to the State Shinto than any other types of music. In its 10th anniversary, one of the music and dance of Gagaku called Nin Jou mai was performed and marched by about twenty thousand students and residents by and in the city of Gyeongsung. Such elaborate preparation of such song as the main theme, reflects the special efforts of the Japanese Empire for the spreading of this specific song. In the 10th anniversary of starting the ritual in 1925, the music and dance of the Royal Conservatory of the Yi Dynasty (Yiwangjikaakbu) such as Jeju women divers songs, lion dance, dance of good harvest, mask play (Sandaedogam) were performed as an offering to the deities. The Japanese Government General of Korea intended to propagate their ideology of colonial ruling and effectively engraft the idea that Japan and Korea are one body by having various Korean music and dance performed at the Japanese shrine. They also involved Korean artists for Kagura performance, and this is a case that reveals their assimilation policy by utilizing music and dance, which was reinforced even more after 1930. As such, the music and dance performance for the enshrinement ritual and its 10th anniversary were utilized as important means of the propaganda and instigation of the ruling ideology of the Japanese Government General of Korea.

Monicelli e la memoria della Grande Guerra

In my essay, I examine Mario Monicelli’s La Grande Guerra, in order to verify if its comic and anti-heroic perspective really leads to a new concept of WWI. I first retrace the director’s previous filmography, where the characters, genres and patterns which will recur in La Grande Guerra originally take shape. I then reconstruct the movie’s genesis, focusing on the sources the screenwriters refer to: not only WWI movies and memories, such as Kubrick’s Paths of Glory and Lussu’s Un anno sull’Altipiano, but also, quite unexpectedly, La vita militare by De Amicis.&#x0D; On this basis, I analyse the representation of the war, in its figurative and narrative elements. In many senses, it’s a war seen from the ground, and indeed the scenography and script take inspiration from the soldiers’ pictures of the front and their military songs. In this realistic context, Monicelli develops the plot of two cowardly privates, from a poor, undisciplined background, who ultimately identify with their nation enough to sacrifice themselves for their compatriots.&#x0D; The purpose of highlighting the unacknowledged war contribution of the mass, however, is somehow contradicted by the army’s image. The comic and anti-heroic aspects, indeed, concern only the low-ranked soldiers, while the Command is represented in a sentimental way. In this respect, Monicelli confirms a rhetoric coming from De Amicis, and later inherited by Fascism: the army as an image of a model society, where North and South, rich and poor, educated and illiterate unite, and where everyone deserves his hierarchical rank.

The Critique of Appropriation of Popular Song in of Oshima Nagisa’s Sing a Song of Sex(日本春歌考): Army Songs, Folksongs, Protest Songs and the Songs of the Involved

이 논문에서는 오시마 나기사의 영화 ≪일본춘가고≫에 등장하는 노래들을 장르별로 살펴보면서 그것들이 서로 다른 등장 인물군에 의해 어떻게 전유되고 있는가를 살펴볼 것이다. 1960년대 일본에서 불리던 군가와 포크송, 운동 가요의 관계와 그를 향유하는 집단의 대립과 갈등이 노래의 전유와 어떤 관계가 있는가를 분석해 볼 것이다. 오시마 나기사의 영화에 나오는 일본군가, <만철소곡>과 <토비가>의 가사 전유와 운동가요, 미국 포크송의 수용에서 드러나는 모순과 갈등의 지점을 포착하고, 이를 바탕으로 1960년대 일본과 한국 사회 대중가요 지형을 비교해 보려고 한다. 이를 통해 군가-운동가-외국 가요-당사자의 노래가 1960년대 일본과 한국에서 어떤 사회문화적 변용을 겪The purpose of this paper is to find how the transformation of meaning of a song happen according to the different adaptation group. To do this I will analysis the songs in Nagisa Oshima s film, Sing a Song of Sex. There appear many songs from military songs which were sung in second world war period to the traditional Japanese folk songs, American popular songs. I will trace the transformation of the song s meaning while the different singing subjects change. I will disclose the process of the transformation of the involved subjects of the songs would change the meaning of the songs. Based upon such a analysis we could compare the adaptation process of western songs between Japan and Korea in 1960s .

Практика убаюкивания в современной городской культуре: материнский фольклор и потребности ребенка

This study describes the practice of lulling in contemporary urban culture and its accompanying speech forms and nonverbal components. The research material included interviews with parents, which were recorded in Saint Petersburg from 2008 to 2015. Thirty-seven such records (33 women and 4 men) were made during the gender study. In was interesting to find out which texts the parents used as lullabies and what they felt when lulling their children to sleep and how the children reacted to it. It was found that various texts and melodies, which the respondents were sung in their childhood, were used as lullabies; these texts and melodies came from different genres and times, including contemporary works. The repertoire is generally based on the personal experience of the performer. Adults sing to their children the things that they themselves learned during their childhood, folk lullabies, which they are familiar with after reading children’s books, popular hits and military songs that they learned while attending the school choir. The choice to use this or that text as a lullaby can be related to the state of emotional comfort and calmness of the performer. Thus, the lullaby is addressed equally to both participants of the process – the child and the performer. Through certain strategies (rocking, humming), parents also access their own feelings and gain the ability to control them. It is worth noting that the textual content of the lullaby is not as important for the child as it is for the adult. Children’s needs primarily come from the rhythm and melody of the performed work. Therefore, it is possible to conclude that the lullaby is a means that allows working with the internal state of the per-former.

Les chants militaires français : une culture transnationale ?

This article proposes to study the military songs of the French Army in the second half of the twentieth century. Though not pioneering in the study of the entire body [of work], the study consists of placing songs in context as part of a cultural history. A number of French military songs are of foreign inspiration. Thus, they fall within a supranational culture. Following the work of Didier Francfort that challenges the nationalist character of music (Le Chant des Nations, Hachette Literature), we can update the following paradox. The Army is a representative institution of the nation par excellence. However, some songs are influenced to varying degrees by foreign models, which together form a transnational culture. These influences help to amalgamate troops and, while retaining foreign symbols, to strengthen the Army-Nation link in France.

State Ceremony and Music in Meiji-era Japan

The music culture of Japan following the Meiji Restoration of 1868 is characterized by the coexistence and interdependent development of three types of music: (1) traditional music passed down from the Edo period (1603–1867) as exemplified by gagaku (court music); (2) the Western music that entered the country and became established after it was opened to the outside world; and (3) modern songs that were the first to be created in East Asia, such as shōka and gunka (school and military songs). These three types of music each played the role required of them by the Meiji state, and they became indispensable elements of the music culture of modern Japan. Traditional music is an irreplaceable fund of original musical expression intrinsic to Japan, Western music offers a common language facilitating musical contact in international society, especially with countries of the West, and modern songs are an essential tool for unifying the Japanese people through the act of ‘singing together in Japanese’.This article examines the way in which the coexistence of these three types of music began, from the perspective of the musical expression of national identity in the state ceremonies of the Meiji era, namely imperial rites, military ceremonies and school ceremonies. Gagaku was reorganized and strengthened in the 1870s as the music of Japan's imperial rites, and it was given priority both within Japan and overseas, as the most intrinsic of Japan's genres of traditional music. The gagaku scales, defined clearly only from 1878 onwards, were used to amalgamate the musical language of Japan's state ceremonies by their use in ceremonial pieces for military and school ceremonies. This article clarifies the special role played by gagaku in post-Restoration nineteenth-century Japan.