War Songs Research Articles

Letters Home: Themes and Messages in Soldier Songs of the Second Iraq War

Country music has a long tradition of war-related songs dating back at least to the Civil War and is present today in the context of the current war in Iraq. Amid the many jingoistic songs in this category is a subgenre referred to in this study as “soldier songs.” Since WWII, soldier songs have retained an important place in country music during subsequent periods of war because of their personal reflections on the tragedies of war. The appearance of soldier songs in relation to the timeline of the war, in combination with the personality of the recording artist, is significant to how the audience receive the song. The main objective of this study is the analysis of the messages and contexts of modern soldier songs, which support the troops but not necessarily the war, and establish a sort of political middle ground that can be appropriated by both sides of the political spectrum.

Abiding memories: the community singing movement and English social life in the 1920s

AbstractThe community singing movement was a distinctive feature of English popular musical life in the mid-1920s. Although initiated by individuals who saw it as essentially educational, it was rapidly appropriated by sections of the press, and especially the Daily Express, as an instrument in the circulation wars of the period. It was typified by a restricted range of music comprising ‘national’ songs, hymns (with the performance of ‘Abide with Me’ at the FA Cup Final singing particularly important), and songs of the First World War. This mixture and the concomitant neglect of modern popular song reflects the rather nostalgic thrust behind activities, with calls for community singing to recreate a ‘Merrie England’ that would heal the deep social divisions of the 1920s. Whether the singers were fully aware of these various musical and socio-political agendas is unclear, but community singing undoubtedly enjoyed a period of considerable popularity, with the music appreciated for allowing displays of individual and collective emotion.

Homeward Bound or Housebound?

Homeward Bound or Housebound?

Identity Politics of the Captivity Narrative after 1848 by Andrea Tinnemeyer

3 0 8 W e s t e r n A m e r ic a n L it e r a t u r e F a l l 2 0 0 7 cusses ethnic identities in the context of Mormonism and the shifts in this focus as the church’s proselytizing brought its earlier philosophy into conflict with changing populations. Mary Jane O’Donnell recounts a more recent development— the changing demographics and culture of the Islamic Center of Southern California and the Center’s role in establishing an “American Islamic identity.” While all of these essays are engaging, the volume as a whole does not add much to our knowledge of the broader conflicts of race and religion in the American West. In fact, although both race and religion are addressed in the introduction, the editors do not offer any definition of their West. None of the essayists address the powerful influence of Protestantism on the concept of Manifest Destiny that influenced so profoundly the shaping of the West— including the role of race (white Euro-American capitalists) and religion (white Protestant conservatives) in the region. Nor does the volume address the role of American Protestantism in the attempts to eliminate and/or assimilate America’s Indians, surely a key element in the history of race and religion in the broader American West. Still, the student of the literary West who is particularly interested in the development of the urban West or the history of race and/or religion in the (far) Southwest will find useful background information in these accounts of encounters, racial and religious, in the West. Identity Politics of the Captivity Narrative after 1848. By Andrea Tinnemeyer. Lin coln : U n iversity o f N eb rask a Press, 2006. 157 pages, $39.95. Reviewed by Marissa López U niversity of C alifornia, Los A ngeles Andrea Tmnemeyer’s The Identity Politics of the Captivity Narrative after 1848 explores the US-Mexican War’s restructuring of class, race, and gender in the United States. This book is not so much about the captivity narrative as a genre as about the identity politics it reflects. Tinnemeyer argues for the significance of the war to the national imaginary by establishing a connection between it and the American Revolution of 1776. Both, she argues, work through national growing pains via narratives of captivity. Tinnemeyer positions her project as an evolution of the captivity narrative but ultimately falls short of her mark. Though she makes several key insights about race, class, and gender in post-1848 U S culture, she has little to add to the generic discussion. The book’s great strengths are its close readings of understudied materials pertaining to an understudied topic. The US-Mexican War radically altered the United States’ self-perception, as its size more than doubled and its citi­ zenry rapidly changed. In contrast to its historical significance, there is a dearth B o o k R e v ie w s 3 0 9 of literary scholarship about the war. Tinnemeyer makes a valuable contribution to the field with perceptive analyses and creative archival work. Her first chapter revitalizes María Amparo Ruiz de Burton’s Who Would Have Thought It1 (1872), reading it against newspaper and novelistic accounts of the real-life captivity of Olive Oatman. Ruiz de Burton, Tinnemeyer argues, revises the captivity genre from one that preserves East Coast whiteness to one that calls whiteness into question via geographical and transnational shifts. Tinnemeyer next treats interracial marriage as a romance of Manifest Destiny with readings of Timothy Flint’s Francis Berrian (1826) and Jovita González and Eve Raleigh’s Caballero (193 7). Captivity here is the Cult of True Womanhood, and the chapter contends that racialized citizenship, homoeroticism, and pulp fiction redefined the gender of the national symbolic. The body as national symbol is the topic of chapter 3, which deals with war songs and how anxi­ ety about the changing face of the United States is enacted through lyrical disfigurations of the Mexican male body. In chapter 4, the body as symbol is destabilized. Tinnemeyer argues that cross-dressing female soldiers in Ned Buntline’s...

Ethics and Nostalgia in the Contemporary Novel by John J. Su

MLR, I02.4, 2007 I I 5 I of leaving itbehind, though at themoment that sounds a pious hope inmuch of theworld rather than a believable reality.Stout wishes to enlarge the concept ofwar poetry, so that itextends beyond thenarrow category of 'trenchpoets', who wrote out of their front-line experience, or the poets inuniform who wrote about war without seeing any direct action. Stout extends it to take in any poets who responded towar and expressed loss and grief, and she has chapters on thewomen poets of the two world wars (some ofwhom came close to the action as nurses or ambulance drivers). Stout is on familiar ground in her discussion of Sassoon and Owen, who changed the concept ofwar poetry. But likemany other commentators she assumes that their reaction against thewar was more representative of opinion at large, inor out of the armed forces, than itwas. The most substantial poetic memorial to theGreat War by a British writer, David Jones's In Parenthesis, gets only a fleetingmention in the notes. Reasonably enough, Stout's frame of reference isAmerican, and after the dis cussion of theFirstWorld War British poets tend tomake just the occasional guest appearance. Nevertheless, inher account of the run-up to theSecond World War she includes a long and admiring account ofLouis MacNeice's evocation of the eve ofwar, AutumnyJournal,which she rightlyregards as a little-knownmasterwork. When she comes to thewar itselfStout concentrates on American poets, in readings ofRandall Jarrell,Louis Simpson, and other soldier poets, and, on the civilian sidelines,Wallace Stevens. The only British poet inuniform she discusses isGavin Ewart, an attractive but minor talent in comparison with thosewho are ignored, such as Keith Douglas, Roy Fuller, Alun Lewis, and Hamish Henderson. She does, though, provide a good analysis of 'LittleGidding' as a poem ofwartime experience. Stout is ultimately concerned with cultural history, and her reading of poetry is supported by studies of thevisual arts and music thatcame out of thewars; Britten's War Requiem is a famous example of the latter, though her range iswide enough to include a lively (and to this reviewer evocative) discussion of the popular songs of World War II. She shows how theUnited States went to great lengths to instil a patriotic mythology into a population forwhom thewar was remote and incompre hensible. The British, whose cities were being bombed and had Nazi Europe twenty miles from theircoast, had a greater sense ofwhat it was all about. This isan enjoyable and informativebook, even if it lacks an overall sense of direction. UNIVERSITY OFWARWICK BERNARDBERGONZI Ethics and Nostalgia in theContemporary Novel. By JOHNJ.SU. Cambridge: Cam bridgeUniversityPress. 2005. vii+226pp. C45. ISBN 978-o-52i-85440-5. On revisiting St Lucia, thepoet narrator inDerek Walcott's Omeros (London: Faber & Faber, i99i) reflects, 'Art isHistory's nostalgia, itprefers a thatched Iroof to a concrete factory,and the huge church Iabove a bleached village' (p. 228). John Su cites The Odyssey as the foundational text regarding a yearning fororigins, for the home leftbehind, and notes itsappeal tomany twentieth-centurywriters, including Joyce andWalcott, but rejects the criticism implicit in Walcott's lines.His book sets out to question what he sees as the fashionable valuing ofmemory over and against nostalgia, wherein "'[m]emory" signifies intimate personal experience, which often counters institutional histories; "nostalgia" signifies inauthentic or commodified ex periences inculcated by capitalist or nationalist interests' (p. 2). Su eschews a long tradition which has valued nostalgia as central toworks by esteemed European and American literary authors, including Rousseau, Proust, Thoreau, Eliot, andMarquez. Indeed, his discussion is mainly informedbymore con temporarywriting and critical discussion, and the literarytextshe studies all date from I 152 Reviews after World War II. In opposition to thosewho deplore thekind ofnostalgia embodied in theheritage industry,or perhaps in the idyllic childhood memories celebrated by negritude poets like Senghor, he cites Svetlana Boym's recent The Future ofNostal gia, which explores theways inwhich nostalgia can be either restorative or reflective, shaping a certainway of thinkingabout a particular time and place, and granting such memories a transformative and reconstructive power. But whereas Boym focuses on artists exiled fromRussia and Eastern Europe (including Nabakov, Brodsky, Stravin sky,and Benjamin), Su takes a...

The Poetics of Psychoanalysis: In the Wake of Klein by Mary Jacobus

II30 Reviews published, in I834, a translation ofGoethe's Faust which won praise fromCarlyle. His horizons were Scottish with a strong sympathy for mainland Europe rather than England (his hostility toOxford and Cambridge was legendary,despite frequent visits there), and Germany and Greece were particularly important tohim. Though unusu ally non-sectarian foraVictorian Scottish Calvinist, he regarded Roman Catholicism as backward, as a result ofwhich he was not especially interested in the 'AuldAl liance', preferring the idea of a new one with Germany. Yet he was also an unorthodox Calvinist who almost lost theAberdeen chair because of an equivocating declaration thathemade afterhe had signed theConfession of Faith. Blackie's achievements cover a vast span of nineteenth-century Scottish life.He became a champion of Gaelic, a defender of the crofters, and a Home Ruler (while also supporting theBritish Empire). He almost single-handedly raised themoney to set up the firstChair of Celtic in Scotland, at Edinburgh University in I882, even securing a ?200 donation fromQueen Victoria. He was an educational reformerwho called for less political patronage in the appointment of professors as well as more Scottish scholarly self-reliance, forexample on the question of pronouncing Greek. He wrote on Christianity, beauty, atheism, German war songs, and 'TheWise Men ofGreece'. He was a biographer ofBurns, wrote poetry of his own, and published in i866 a four-volume translation of the Iliad. His 'gospel of hard work and fresh air' (p. 232), entitled On Self-Culture (I874), remained popular inBritain and theUSA until the igios, long afterhis death in 1895. Till now students have had to rely for information on a rather uncritical i895 biography by one of his students,Anna M. Stoddart, which was based on theunpub lished manuscript of an autobiography, and on his diaries and letters published by a nephew in I90I and I9I0. Wallace has sourced awealth ofmaterial to reconstruct some of theminutiae of Blackie's lifewhile never losing sight of the bigger issues inwhich he played a significant part. He succeeds in conveying to the reader a keen understanding of these issues and debates and of Blackie's role in them. For all his obvious sympathywith theprofessor,Wallace also retains a very necessary degree of critical distance from his subject. Blackie was an essentially cosmopolitan figure in a society riven by parochialism and sectarian infighting.This is an extremely well researched and written biography of one of themost important and, till now, most neglected figures innineteenth-century Scottish life. UNIVERSITY OF ULSTER P6L 0 DOCHARTAIGH The Poetics of Psychoanalysis: In theWake ofKlein. By MARY JACOBUS. Oxford: Oxford University Press. 2005. xii+303 pp. C58. ISBN 978-o-ig-924636-6. This excellent study ofBritish object-relations theoryhas definitive chapters on Ella Freeman Sharpe, Joan Riviere, Melanie Klein, Susan Isaacs, Marion Milner, D. W. Winnicott, andWilfred Bion, which constitute variations on themes thatMary Ja cobus circles round again and again. For example, with Ella Sharpe the issue is the relationship ofmetaphor tobodily experience (a point returned to, forexample with Susan Isaacs on eating, where words are thought of as 'devoured' (p. I02)). There is also a reading of Sharpe's work on Hamlet, bringing out Lacan's relationship to it. Jacobus gives an analysis of Joan Riviere's 1936 paper on 'negative therapeutic reaction', discussing sadism as at the root of a disabling reaction to the 'unmasking' effects of psychoanalysis: 'the loved ones within, by whom the patient fears to be abandoned, are at the same time revealed tobe theobjects of her undying hatred and cruelty' (p. 39). And cruelty is at the heart of this book; Jacobus twice (pp. 87, I47) quotes Derrida (inWithout Alibi (Stanford, CA: Stanford University Press, 2002), MLR, I02.4, 2007 113I P. 28o), saying 'cruelty therewill have been, before any personal figure,before "cruel" will have become an attribute, still less anyone's fault'. That quotation, depersonal izing cruelty,making it an aspect of language itself,comes first in the conclusion of a chapter on Klein's Envy and Gratitude, and on her reading of theOresteia, with its discussion of the 'need' tomurder the mother-all suggestivematerial, and linked to discussion ofHannah Arendt, and her comments on forgiveness (mediated through JuliaKristeva, who...

Amharic Poetry of the Ethiopian Diaspora in America: A Sampler

This essay offers the first English-language translations of Amharic poetry written by Ethiopian immigrants to the United States. Following an introduction to the Amharic language and the central place of poetry in Ethiopian literature and cultural life, the author discusses the work of four poets. The poems of Tewodros Abebe, Amha Asfaw, Alemayehu Gebrehiwot, and Alemtsehay Wedajo make creative use of Ethiopian verbal constructions reminiscent of traditional war songs and verbal interrogations used in legal contexts. Many of the poems speak eloquently of the personal losses Ethiopians have suffered as a result of their departure from their homeland. The essay includes biographical and ethnographic details about the individual poets and various influences on their compositions. (April 2009)

Performance and Text in the Italian Carolingian Tradition

Performance and Text in the Italian Carolingian Tradition Antonio Scuderi Truman State University [*eCompanion at www.oraltradition.org 1 ] One of the most fascinating aspects of the chivalric-epic tradition of Italy is the historical dialectic between its manifestations as oral performance and written text. Based primarily on Carolingian lore, the oral and written traditions influenced each other in a symbiotic dialogue across the centuries. John Miles Foley, one of the leading experts on world epic traditions, discusses the interaction of oral and written processes in his book, The Singer of Tales in Performance: "The old model of the Great Divide between orality and literacy has given way in most quarters, pointing toward the accompanying demise of the absolutist dichotomy of performance versus document. . . . Consequently, text can no longer be separated out as something different by species from the oral tradition it records or draws upon; the question becomes not whether but how performance and document speak to one another" (1995:79). The dialectic interaction of oral and written manifestations of Carolingian lore in Italy will be the primary focus of this study. Special attention will be given to 1) the cantari, medieval poems that hail back to the beginnings of the chivalric-epic in Italian literature; and 2) oral performances of epic lore in the Sicilian cunto, which up until the early part of the twentieth century were still part of a living tradition. The epic tradition in Italy, both oral and written, is primarily based on the French chansons de geste, in particular the Chanson de Roland. Foley asserts that the chansons de geste were originally oral-derived texts: "Behind these manuscript-prisoned epics stands a tradition of oral composition and transmission by singers of tales, called jongleurs, although clerical and scribal activity intervened in various ways between oral performance and written record" (2002:177). With specific reference to the [End Page 68] Oxford manuscript of the Chanson de Roland, he explains that it "derives in some fashion from oral tradition and retains structures and textures typical of oral poetry . . . . We know it only as a manuscript dating from about 1100, but it's without doubt an oral poem" (2002:177-78). Foley, with his extensive scholarship and astute methodology on the subject, lends an authoritative and contemporary voice to the issue. But the belief that the chansons were derived from oral performance is certainly not new. 2 The Cantari It is believed that stories and songs from France came into Italy in the twelfth century with merchants traveling to northern and central Italy for commerce and pilgrims on their way to Rome, but especially via minstrels and jongleurs, some of whom may have accompanied the other travelers. 3 These stories and songs would include chansons de geste, which were war songs such as the Chanson de Roland; Arthurian romances; and lyric poetry. Important evidence of the popularity of the French chivalric tradition in Italy during this time is provided by one of the most important historical figures, Saint Francis of Assisi (1182-1226), the son of an Italian merchant. Francis was enamored of the chivalric tradition and sang troubadour songs of chivalric deeds in Provençal. His sermons to popular audiences were often in a chivalric register, using the knight's code of honor as a metaphor for leading the Christian life (Cardini 1989; Frugoni 1995). The French tales began to be written down in Italy, and the form that is of particular interest to this study, the cantare (pl. -i, from the Italian "to sing"), consists of verses in octaves. Cantare refers both to the poem as well as to its internal divisions. The earliest extant manuscripts date from the 1340s. Most likely it was literate cantarini (cantari performers) who wrote down the first cantari, thus most of the standard structural features, discussed below, are performance-derived. French tales, mostly Carolingian [End Page 69] and to some extent Arthurian, were the primary sources of the early cantari. Later, in the fifteenth century, we find...

The Chalcan Woman’s Song: Sex as a Political Metaphor in Fifteenth-Century Mexico

In 1479 (the year 13-Reed), some men from the towns of Chalco-Amaquemecan and Tlamanalco went for the first time to sing in Mexico-Tenochtitlan: the Mexica (Aztecs) held hegemony in the area, including Chalco. The song they sang was a war song called the “Song of the Woman Warrior.” They played it for the tlatoani, or ruler, Lord Axayacatl (ca 1469-1481), performing it in the patio outside his house of women. Unfortunately, the performance got off to a rather slow start. A man from the area of Tlamanalco in Chalco, one who had never played the drums before or directed a song, made a very bad showing.

The Chalcan Woman’s Song: Sex as a Political Metaphor in Fifteenth-Century Mexico

In 1479 (the year 13-Reed), some men from the towns of Chalco-Amaquemecan and Tlamanalco went for the first time to sing in Mexico-Tenochtitlan: the Mexica (Aztecs) held hegemony in the area, including Chalco. The song they sang was a war song called the “Song of the Woman Warrior.” They played it for the tlatoani, or ruler, Lord Axayacatl (ca 1469-1481), performing it in the patio outside his house of women. Unfortunately, the performance got off to a rather slow start. A man from the area of Tlamanalco in Chalco, one who had never played the drums before or directed a song, made a very bad showing.

The Four Hundred Songs of War and Wisdom: An Anthology of Poems from Classical Tamil; The Puranānāru. Translated and edited by George L. Hart and Hank Heifetz. New York: Columbia University Press, 1999. xxxvii, 397 pp. $39.50 (cloth).

The Four Hundred Songs of War and Wisdom: An Anthology of Poems from Classical Tamil; The Puranānāru. Translated and edited by George L. Hart and Hank Heifetz. New York: Columbia University Press, 1999. xxxvii, 397 pp. $39.50 (cloth).

Tin Pan Alley on the March: Popular Music, World War II, and the Quest for a Great War Song

Tin Pan Alley on the March: Popular Music, World War II, and the Quest for a Great War Song

God bless America: Tin Pan Alley goes to war

After Pearl Harbor, Tin Pan Alley songwriters rushed to write the Great American War Song -- an Over for World War II. most popular songs, however, continued to be romantic ballads, escapist tunes, or novelty songs. To remedy the situation, the federal government created the National Wartime Music Committee, an advisory group of the Office of War Information (OWI), which outlined proper war songs, along with tips on how and what to write. music business also formed its own Music War Committee to promote war songs. Neither group succeeded. OWI hoped that Tin Pan Alley could be converted from manufacturing love songs to manufacturing war songs just as automobile plants had retooled to assemble planes and tanks. But the OWI failed to comprehend the large extent by which the war effort would be defined by advertisers and merchandisers. Selling merchandise was the first priority of Tin Pan Alley, and the OWI never swayed them from this course. Kathleen E.R. Smith concludes the government's fears of faltering morale did not materialize. Americans did not need such war songs as Goodbye, Mama, I'm Off To Yokohama, There Are No Wings On a Foxhole, or even The Will Soon Be Setting On Land Of Rising Sun to convince them to support the war. crusade for a proper war song was misguided from the beginning, and the music business, then and now, continues to make huge profits selling love -- not war -- songs.

The Four hundred songs of war and wisdom: an anthology of poems from classical Tamil

The Four hundred songs of war and wisdom: an anthology of poems from classical Tamil

Song of War

The international community has re-discovered Afghanistan after ignoring the civil war that has raged there since 1992. The reason for this is yet another war, this time waged by the United States against the ruling Taliban and their guest Osama bin Laden. War fought in the name of peace is an unconvincing slogan to many, particularly those who reap the results of conflict generation after generation. Women and children in Afghanistan know better than anyone else what war has brought them, and their stories are cautionary tales to those who believe in the healing powers of more violence and forced displacement. When Hafeeza spoke to us about her experience of war and the Taliban from a refugee camp in Peshawar, it was in the year 2000, when the world's interest in Afghanistan had slipped to its lowest point ever. The un international appeal for humanitarian aid brought in so little money that it embarrassed them to announce the figures. Pakistan had officially declared that it too was tired of supporting millions of destitute refugees when two decades had gone by with no hope of improvement. It had sealed the border with Afghanistan, turning back the new waves of drought-cum-war refugees at the border and rounding up illegal entrants to send them home. Haifa million new refugees came into Pakistan that year. The Pakistan government refused them refugee status and asked the United Nations High Commissioner for Refugees (unhcr) to set up the new refugee camps inside Afghanistan instead. At that point the tale of Hafeeza proved that the condition of new refugees from Afghanistan was urgent and serious, meriting immediate international action and a more sympathetic consideration from the Pakistan government. While the latest Afghan war has certainly focussed international attention on the plight of war victims, nonetheless humanitarian assistance is still falling short of targets and the Pakistan government is still refusing to open its borders to accept the displaced. But

Curriculum change and strategies, past and present: why is it taking so long?

For the last 30 years or more the old war songs of medical education (community orientation, active learning, etc.) have been repeatedly ventilated in meeting after meeting, article after article. But of the present 1642 medical schools on the planet, only about 100 members of The Network and a few other have put these principles into practice, more or less. Obstacles and constraints are known. Is it the system, or the leadership, or the university culture, or the accreditation rules, or all of the above that are responsible for this lack of progress? Still, some overcame the obstacles, some removed the constraints. It would be useful to be better informed about HOW it was done. I suggest that Education for Health: Change in Learning & Practice (EfH) should present more articles explaining HOW successful schools managed to DO IT or WHY they were NOT able to DO IT.

I Paradisets Have

I Paradisets Have

Playing at Being Indian: Specta Torship and the Early Western

Anickelodeon screening of an “Indian” melodrama almost one hundred years ago might have seemed both novel and reassuringly familiar to audiences at the time; novel, since “Indian” films were suddenly en vogue at the time, and this may have been the spectator's first taste of the exciting new genre, and familiar, since many of the films' narrative and iconographic tropes would have been instantly recognized from nineteenth-century painting, photography, theater, popular literature, advertising, museums, world's fairs, and traveling Wild West shows.1 As early as 1840, visitors to Barnum's American Museum in New York City would have marveled at the “Grand Exhibition of a large company of Indian Warriors with their Squaws.” Performing at the museum every evening, the troupe demonstrated the “various modes and ceremonies of savage life, superstitions, war songs, dances, etc.”2 Consumed as popular entertainment for well over half a century before the emergence of cinema, audiences would have had few problems recognizing enduring tropes in the representation of Native Americans when they encountered them in cinematic form in the 1890s. While cut from the same discursive cloth as their precinematic antecedents, these films nevertheless, as the quote from “The Vogue of Western and Military Dramas” indicates, provoked a lively debate over the generic parameters of the Western, including expressions of dismay at the artistic liberties taken by some filmmakers. I explore the topic of spectatorship and the early film Western, approaching the subject from two perspectives: first, the role of Indian actualities as cinematic intertexts for the “ethnographic” set pieces used in “Indian” films, and second, the ways in which audiences may have understood the widespread practice of casting whites in Indian leads in early Westerns.

Western Theories of Music Origin, Historical and Modern

All music origin theories are concerned with the purpose and effects of music, a subject first systematically broached by Plato who felt that music's primary use was for aggression, defence, persuasion and social harmony. In Cratylus Plato provided an epistemological foundation for later theorists by arguing for a natural correspondence between sound and meaning, opposing the view that names and sounds were arbitrary. One important group of musical origin theories developed this viewpoint, asserting that music evolved as a result of spontaneous emotional outbursts, a form of self expression and communication. Darwin heads a second adaptationist direction, maintaining that music evolved to enhance organisms' sexual attraction, thus increasing their ability to procreate. A third theoretical school asserts that music originated because of organisms' innate rhythmic sense. Other phylogenetic and functional ways of grouping music origin theories are also examined. In evolutionary time music's survival value lay in its use for territorial domination, deterrence of predators, intraspecific competition and social cohesion. Most musical/sonic signalling is deceptive and manipulative in nature, designed to give the signaller a competitive advantage against his/her rivals and therefore to increase his/her progeny. Although music in the western art tradition has only a limited social function, some of these utilitarian and duplicitous elements are preserved in the war, healing and supernatural songs of aboriginal tribes. Today music still serves the function of demarcating personal and group space, creating social cohesion, arousing to action and just pure enjoyment. Because of its ability to reawaken and allow us to re-experience primeval survival emotions, music is also cathartic and therapeutic.

World War II: An Encyclopedia of Quotations

Acknowledgments Introduction Scope of This Book 1. The War Leaders 2. Military Officers 3. Government Officials 4. Diplomats 5. Warriors 6. Chaplains 7. Intelligence Officials and Spies 8. Scientists and Engineers 9. Journalists and Cartoonists 10. Historians and Biographers 11. Influential Personalities 12. Civilians 13. Institutional Quotations 14. Anonymous Quotations 15. War Movies 16. War Songs 17. War Lexicon 18. Miscellaneous Quotations Appendix: Quotations by Category Bibliography Name Index Subject Index