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Sounds of WarMusic in the United States during World War II$
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Annegret Fauser

Print publication date: 2013

Print ISBN-13: 9780199948031

Published to Oxford Scholarship Online: September 2013

DOI: 10.1093/acprof:oso/9780199948031.001.0001

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“We, as Musicians, Are Soldiers, Too…”

“We, as Musicians, Are Soldiers, Too…”

Chapter:
(p.15) Chapter One “We, as Musicians, Are Soldiers, Too…”
Source:
Sounds of War
Author(s):

Annegret Fauser

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199948031.003.0002

Men and women faced a number of challenges and opportunities with the onset of World War II. This chapter explores how individuals in the United States dealt with this global conflict, whether they were musicians in uniform, performers providing wartime entertainment, composers working on music appropriate for this time, or musical mediators such as radio hosts and newspaper critics. Institutions such as the Office of War Information and United Services Organization are addressed in the context of a discussion of how individual musicians tried to forge various paths through institutional matrices so as to meet wartime needs. Musicians featured in this chapter are the composers Samuel Barber, Aaron Copland, Ulysses Kay, and Kurt Weill; performers such as Andre Kostelanetz, Eugene List, Yehudi Menuhin, and Lily Pons; and cultural mediators such as Harry Futterman, Paul Henry Lang, and Deems Taylor.

Keywords:   broadcasting, camp shows, draft, musicians in uniform, entertainment, freedom, Office of War Information (OWI), radio, United Services Organization (USO), women musicians, Samuel Barber, Aaron Copland, Lehman Engel, Harry Futterman, Ulysses Kay, Andre Kostelanetz, Paul Henry Lang, Eugene List, Erika Mann, Yehudi Menuhin, Ish-ti Opi, Lily Pons, Deems Taylor, Kurt Weill

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