Suchergebnisse

This presentation is almost entirely a photographic collection of patriotic sheet music, mostly American, composed and published during periods of war to "rally the nation." Photos of the sheet music are drawn in part from the personal collection of the professor and from sources available openly online. The presentation includes a brief history of certain classic songs, such as "God Bless America," written by Irving Berlin, a Russian-Jewish immigrant from Siberia, when he was in the U.S. Army during World War I. Examples of military-related sheet music with other objectives are divided by category: music as tribute (to various leaders); music to protest war and promote peace; and recent expressions of patriotism and military support. The presentation is for educational purposes only. The presentation should not be used commercially.

This paper discusses the importance and representation of the content of patriotic education in elementary school teaching of music culture and the attitude of students towards it. Patriotic education in teaching of music culture is realized by familiarizing students with the musical contents that contribute to the development of patriotism, such as traditional, spiritual and patriotic songs, as well as works of national art music. This form of education today has great meaning and significance, especially in the region of Kosovo and Metohija where, due to the specific conditions of life of Serbian people, it is necessary to pay more attention to developing a sense of state and national belonging and patriotism. The paper presents the results of the research which was aimed at determining the opinion of the 8th grade students from the territory of central Serbia and Kosovo and Metohija about the importance and representation of the content of patriotic education in elementary school teaching of music culture. The starting assumption of the study was that 8th grade students from the territory of central Serbia and Kosovo and Metohija have a developed awareness about the importance of the content of patriotic education and the need for its greater representation in elementary school teaching of music culture, which was partly confirmed by the research. The results of the research indicate the necessity for greater representation of patriotic education in elementary school teaching of music culture. The study was conducted using descriptive methods and the methods of theoretical analysis.

This paper explores the development of popular music and its relationship to the political situation in Croatia and Yugoslavia from 1945 to 1991, and how global musical trends were used to construct and reinvent Croatian and Yugoslav cultural and political identities. It begins with a discussion of the suppression of patriotic music in the early decades of socialist Yugoslavia, when the regime attempted to create a supranational culture that would unify Yugoslavia's constituent nations. It then analyses the national cultural revival in Croatia in the late 1960s that prompted a political movement known as the Croatian Spring, when the pop singer Vice Vukov incorporated Croatian patriotic themes into his songs. In the years following the crushing of the Croatian Spring in 1971, Croatian nationalism was again suppressed in politics and music, and because of this stifling of political opposition Croatia was dubbed "the silent republic." For the rest of the 1970s the political function of pop and rock music was reflected in its glorification of Yugoslavia and its leader, Josip Broz Tito. However, after the death of Tito in 1980, New Wave rock bands such as Prljavo kazalište began to criticise aspects of the Yugoslav system and indicated a new turn towards nationalist politics in Croatia. This study concludes with a dicussion of popular music and nationalism in Croatia from 1990 to 1991, and it highlights the dilemma that Croatia's liberal democracy has since faced in dealing with the phenomenon of extreme nationalist music, especially that performed by the singer Thompson.

AbstractTaking a bottom‐up approach to the study of nationalism, the following pages constitute an attempt to shed light on the role singing played for a young generation of Basques who actively participated in the process of construction of Basque collective identity during the cultural revival movement of the 1960s. In doing so, this article aims at showing the fundamental role of active audiences, as well as their changing political and social context, in conforming the meaning of "Basque songs" as means to promote Basque nationalism and sustain opposition to the Franco regime. The study of the production, reception, and reinterpretation of Basque music during the cultural revival of the 1960s presented here intends to emphasize the interest of focusing on how ordinary people contribute to the recreation of the nation through their appropriation and interpretation of cultural symbols and practices.

The objective of this article is to analyse certain aspects of the musical activity brought about by the politic - al events that took place in Cádiz during the War of Independence (1808-1814). This analysis is based on the press published in the city, which became the most efficient way of transmitting patriotic ideals and political proclamations during this period. By consulting various newspapers from Cádiz, the presence of the patriotic repertory performed in theatres was able to be analysed, many of the texts sung both in the streets and in the theatre identified, and advertisements relating to the sale and circulation of this music compiled. All of this informa tion will hopefully help to further our knowledge of music creation during this period, a chapter in the history of Spanish music still in need of an in-depth study. ; Este artículo pretende analizar algunos aspectos de la actividad musical que, motivada por los acontecimientos políticos, se desarrolló en Cádiz durante la Guerra de la Independencia (1808-1814). La fuente fundamental para realizar dicho análisis ha sido la prensa publicada en la ciudad, que en aquellos días se convirtió en el vehículo más eficaz de transmisión de ideales patrióticos y proclamas políticas. A través de la consulta de varios periódicos gaditanos se ha podido analizar la presencia del repertorio patriótico en la cartelera teatral, conocer muchas de las letras que se cantaban, tanto en la calle como en el teatro, y recopilar los anuncios relacionados con la venta y circulación de estas músicas. Con todos estos datos esperamos contribuir al conocimiento de la creación musical en este periodo, un capítulo de la Historia de nuestra música que aún reclama un estudio en profundidad.

Introduction. Popular Soundscapes of Yugoslavia / Danijela Š. Beard with Ljerka V. Rasmussen -- ZABAVNA-POP. Networking Zabavna Music : Singers, Festivals and Estrada / Jelena Arnautović ; "Melodies from the Adriatic:" Mediterranean Influence in Zabavna Music Festivals of the 1950s and 1960s / Anita Buhin ; The Sarajevo Pop-Rock Scene : Music from the Yugoslav Crossroads / Vesna Andree Zaimović ; Yugoslav Film and Popular Culture : Arsen Dedić's Songs in Films / Irena Paulus -- ROCK, PUNK, NEW WAVE. Belgrade Rock Experience : From Sixties Innocence to Eighties Relevance / Aleksandar Žikić ; Jugoton : From State Recording Giant to Alternative Producer of Yugoslav New Wave / Branko Kostelnik ; "Absolutely Yours :" Yugoslav Disco under Late Socialism / Marko Zubak ; The Aesthetics of Music Videos in Yugoslav Rock Music : Josipa Lisac, EKV, Rambo Amadeus / Ivana Medić ; Bijelo Dugme : The Politics of Remembrance within the Post-Yugoslav Popular Music Scene / Ana Petrov -- NARODNA (FOLK) AND NEOFOLK MUSIC. Starogradska Muzika : An Ethnography of Musical Nostalgia / Marija Dumnić Vilotijević ; "My Juga, My Dearest Flower :" The Yugoslav Legacy of Newly Composed Folk Music Revisited / Iva Nenić ; Music in Macedonia : Yugoslavia's Balkan Heartland / Velika Stojkova Serafimovska / Fantasy, Female Sexuality and Yugoslavism in the Music of Lepa Brena / Zlatan Delić -- THE POLITICS OF POPULAR MUSIC UNDER SOCIALISM. Yugoslavia in the Eurovision Song Contest / Dean Vuletic ; "Rocking the Party Line :" The Yugoslav Festival of Patriotic and Revolutionary Song and the Polemics of 1970s "Soc-Pop" / Danijela Š. Beard ; "Comrades, We Don't Believe You!" Or, Do We Just Want to Dance With You? : The Slovenian Punk Subculture in Socialist Yugoslavia / Gregor Tomc ; Music Labor, Class and Socialist Entrepreneurship : Yugoslav Self-Management Revisited / Ana Hofman ; Music for the "Youth Day Central Ceremony" after Tito: De-ritualization and Other Indices of Yugoslav Decline / Naila Ceribašić and Jelka Vukobratović -- CODA. Yugoslav Popular Music and Global Histories of the Cold War / Catherine Baker -- AFTERWORD. "What Would You Give to be in my Place? :" A Conversation with Goran Bregović / Vesna Andree Zaimović, Ljerka V. Rasmussen and Danijela Š. Beard.

As 'music of commitment,' in the period from the late 1970s to the late 1980s rock music in Yugoslavia had an important purpose of providing a popular-cultural outlet for the unique forms of socio-cultural critique that engaged with the realities and problems of Yugoslav society. The three 'music movements' that embodied the new rock'n'roll spirit - New Wave, New Primitives, and New Partisans - used rock music to critique the country's 'new socialist culture,' with the purpose of helping to eliminate the disconnect between the ideal and the reality of socialist Yugoslavia. This paper examines the New Partisans as the most radical expression of music of commitment through the works of its most important rock bands: Bijelo dugme, Plavi orkestar, and Merlin. The paper's argument is that the New Partisans' socio-cultural engagement, animated by advocacy of Yugoslavism, was a counter-logic to the nationalist dissolution of a distinctly Yugoslav fabric of a socialist community in crisis. Thus, the movement's revolutionary 'spirit of reconstruction' permeating its 'poetics of the patriotic' was a mechanism of socio-cultural resistance to political, cultural and moral-ethical de-Yugoslavization of Yugoslav society. Its ultimate objective was to make the case that the only way into the future - if there was to be any - rested on strategic reanimation of the Partisan revolutionary past as the only viable socio-cultural foundation of the Yugoslav socialist community. Adapted from the source document.

This article analyses the unique history of the patriotic song España de la guerra, premiered in Cádiz in 1808 during the Peninsula War (Spanish War of Independence). This piece became extremely popular during and after the conflict, and it was mentioned in the most important collections of patriotic papers, both contemporary and subsequent to its composition. It was also very widely disseminated, references or copies of the song being located in such different and remote places as Cádiz, Majorca, London and the missions of Alta California. All this reflects not only the importance of this piece, but its ideological instrumentalisation and adaptation to different political contexts. The main source consulted for this analysis was the press, especially that published between 1808 and 1814. Documents about the Peninsula War have also been examined, as well as literary and musical collections, including Adolfo de Castro's Catálogo de himnos, marchas, canciones políticas […] and various collections of patriotic songs located at the Biblioteca Nacional de Madrid. Complementing the analysis of the circulation of this work is the presentation of a version of España de la guerra printed in London, which has remained hitherto unpublished. ; Este artículo analiza la singular historia de la canción patriótica España de la guerra, estrenada en Cádiz en 1808 durante la Guerra de la Independencia española. Esta pieza alcanzó una enorme popularidad durante y después de la contienda, siendo mencionada en las principales recopilaciones de papeles patrióticos, tanto contemporáneas como posteriores a su composición. Su difusión también fue muy amplia, localizándose referencias o copias de ella en lugares tan distintos y alejados como Cádiz, Mallorca, Londres y las misiones de la Alta California. Todo ello refleja no sólo la trascendencia de la obra, sino también su instrumentalización ideológica y su adaptación a distintos contextos políticos. Las principales fuentes manejadas para realizar dicho análisis han sido las hemerográficas, sobre todo la prensa publicada entre 1808 y 1814. También se han examinado corpus documentales sobre la Guerra de la Independencia, así como colecciones literarias y musicales, entre las que sobresalen el Catálogo de himnos, marchas, canciones políticas […] de Adolfo de Castro y las diversas colecciones de canciones patrióticas localizadas en la Biblioteca Nacional de Madrid. Como complemento, se presenta la edición de una versión de España de la guerra impresa en Londres e inédita hasta el momento.

У статті висвітлюються актуальні проблеми військово-патріотичного виховання учнів козацького класу. Відображається досвід роботи навчального закладу м. Суми. Розкриваються головні особливості військово-патріотичного виховання учнів козацького класу засобами пісні. Зосереджується увага на хоровому співу, що дисциплінує, згуртовує, зміцнює дух і волю членів дитячої козацької громади. Стверджується, що пісня мотивує до вдосконалення стройових вправ і бойової майстерності, пробуджує в козачат любов до рідного краю, милосердя та інші духовні якості. Висвітлюється різнобічна класна та позакласна пісенна діяльність у процесі військово-патріотичної самореалізації козачат. ; The research covers the experience gained by Community enterprise Sumy specialized school 10 of I-III levels named after the Hero of the USSR O. Butko (the town of Sumy). In the article the light is poured on the relevant problems of military-patriotic education of the Cossack class students. The issues of strengthening patriotic, spiritual and esthetic courses in the teaching and educational process in the secondary school; upbringing an active citizen and a Ukrainian patriot; cultivating love toward the mother tongue and national culture, respect for national traditions, protection of the national interests are discussed in the article. The author analyses the theoretical footing for organizing and managing military patriotic education of the youth and carries out the thorough analysis of its reflection in the works by Ukrainian scientists. Numerous powerful song opportunities for reinforcement the pedagogical impact on a child, providing him/her with inner life comfort, preserving the sense of a happy emotional experience under the circumstances of teaching and educational process are examined in the research. The main peculiarities of military-patriotic education of the Cossack class students by means of a song are unveiled in the study. The attention is drawn to the choral singing which disciplines, unites, consolidates courage, heart and will of the young Cossack community members. The examples of selection, learning and analyzing Cossack songs; setting up an educational dialogue on their basis; guaranteeing all necessary pedagogical conditions for using music creative work within the class and extra school activities are given in the article. The attention is attracted to the importance of a song in the lives of modern and previous generations of Cossacks; its use in everyday life, during the entertaining, training, war operations, national holidays. The significance of highly artistic military-patriotic music masterpieces for upbringing Cossack spirit, vocal-choral and artistic-performing skills and abilities of the Cossack class students is reflected in the work. The statement that a song motivates the young Cossacks to improve marching and martial art skills, arouses the feeling of love towards the native land, mercy and other moral qualities is claimed in the study. Using Cossack marches while teaching teenagers doing drills in the movement, following the norms of discipline, keeping up with the accurate rhythm and, therefore, forming the best features of a warrior is considered to be advisable. The fact that the task of forming a physically healthy and spiritually rich personality by means of a song is fulfilled on a high-quality level is proved in the article. It's not an accident that according to the norms of Cossack and folk pedagogics, the Cossack class students are offered the games with the involvement of patriotic songs. Diversified class and extra school song activities in the process of young Cossacks military-patriotic self-actualization are covered in the research.

As "music of commitment," in the period from the late 1970s to the late 1980s rock music in Yugoslavia had an important purpose of providing a popular-cultural outlet for the unique forms of socio-cultural critique that engaged with the realities and problems of Yugoslav society. The three "music movements" that embodied the new rock'n'roll spirit – New Wave, New Primitives, and New Partisans – used rock music to critique the country's "new socialist culture," with the purpose of helping to eliminate the disconnect between the ideal and the reality of socialist Yugoslavia. This paper examines the New Partisans as the most radical expression of music of commitment through the works of its most important rock bands: Bijelo dugme, Plavi orkestar, and Merlin. The paper's argument is that the New Partisans' socio-cultural engagement, animated by advocacy of Yugoslavism, was a counter-logic to the nationalist dissolution of a distinctly Yugoslav fabric of a socialist community in crisis. Thus, the movement's revolutionary "spirit of reconstruction" permeating its "poetics of the patriotic" was a mechanism of socio-cultural resistance to political, cultural and moral-ethical de-Yugoslavization of Yugoslav society. Its ultimate objective was to make the case that the only way into the future – if there was to be any – rested on strategic reanimation of the Partisan revolutionary past as the only viable socio-cultural foundation of the Yugoslav socialist community.