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      <field key="001" subfield="">0294133</field>
      <field key="004" subfield="">20130613110053</field>
      <field key="030" subfield="">a|||d</field>
      <field key="036" subfield="b">USA</field>
      <field key="050" subfield="">B</field>
      <field key="050" subfield="">a</field>
      <field key="051" subfield="">m</field>
      <field key="100" subfield="">Watkins, Glenn</field>
      <field key="331" subfield="">Proof through the night</field>
      <field key="335" subfield="">music an the great war</field>
      <field key="359" subfield="">Glenn Watkins</field>
      <field key="410" subfield="">Berkeley, Calif. [u.a.]</field>
      <field key="412" subfield="">University of California Press</field>
      <field key="425" subfield="">2002</field>
      <field key="433" subfield="">XVI, 598 S. : Ill. ; 24 cm</field>
      <field key="501" subfield="">Chapter 1. In Search of Kultur -- The Strasbourg Olympic Games in Music-Beethoven and Jean-Christophe-Romain Rolland and Richard Strauss-Above the Battle? -- Great Britain -- Chapter 2. Pomp and Circumstance -- Defining Poland and Belgium-Countering Charges from Home and Abroad -- Chapter 3. The Old Lie -- Elgar's Women and Fallen Heroes-Other War Requiems -- Chapter 4. The Symphony of the Front -- Christmas 1914-Concerts and Soldier Songs-National Airs and Popular and Retexted Tunes -- France -- Chapter 5. Mobilization and the Call to History -- The Silent Muse and War Pages-En blanc et noir-Neoclassicism and National Identity -- Chapter 6. War and the Children -- Noël of The Children Who No Longer Have a Home-War in a Toy Box-Joan of Arc -- Chapter 7. War Games, 1914-1915 -- A March, a Dedication, and a Drawing-Game Theory, War, and the Lively Arts -- Chapter 8. Charades and Masquerades -- Beethoven and Doggerel-Renard and a Soldier's Tale-National Anthems -- Chapter 9. Church, State, and Schola -- Veteran, Monarchist, Classicist-The Legend of St. Christopher-Problems with Beethoven, Protestants, and Jews -- Chapter 10. Neoclassicism, Aviation, and the Great War  -- "Trois beaux oiseaux du Paradis"-The Wounded Muse-The "Toccata" and the War in the Air-Flights of Fancy -- Italy -- Chapter 11. The World of the Future, the Future of the World  -- Futurism and Music-Visionary Classicist -- Germany-Austria -- Chapter 12. "Dance of Death" -- The Lost Brigade-Jacob's Ladder-A Vision for the Future -- Chapter 13. "The Last Days of Mankind" -- A March and a Soldier's Tale-Momentary Fraternité -- The United States of America -- Chapter 14. "The Yanks Are Coming" -- War Song as Interventionist Propaganda-Women and the War-Troop Entertainments Abroad -- Chapter 15. "Onward Christian Soldiers" -- Church, State, and Moral Reciprocity-Billy Sunday-Hymns, Sentimental and Militant -- Chapter 16. The 100% American -- "The Star-Spangled Banner" [u.a.]</field>
      <field key="540" subfield="a">ISBN 978-0-520-23158-0 Pp. : EUR 51,67</field>
      <field key="540" subfield="b">ISBN 0-520-23158-9</field>
      <field key="700" subfield="">219</field>
      <field key="710" subfield="s">Weltkrieg &lt;1914-1918&gt;</field>
      <field key="710" subfield="s">Musik</field>
      <field key="750" subfield="">Carols floating across no-man's-land on Christmas Eve 1914; solemn choruses, marches, and popular songs responding to the call of propaganda ministries and war charities; opera, keyboard suites, ragtime, and concertos for the left hand-all provided testimony to the unique power of music to chronicle the Great War and to memorialize its battles and fallen heroes in the first post-Armistice decade. In this striking book, Glenn Watkins investigates these variable roles of music primarily from the angle of the Entente nations' perceived threat of German hegemony in matters of intellectual and artistic accomplishment-a principal concern not only for Europe but also for the United States, whose late entrance into the fray prompted a renewed interest in defining America as an emergent world power as well as a fledgling musical culture. He shows that each nation gave "proof through the night"-ringing evidence during the dark hours of the war-not only of its nationalist resolve in the singing of national airs but also of its power to recall home and hearth on distant battlefields and to reflect upon loss long after the guns had been silenced. Watkins's eloquent narrative argues that twentieth-century Modernism was not launched full force with the advent of the Great War but rather was challenged by a new set of alternatives to the prewar avant-garde. His central focus on music as a cultural marker during the First World War of necessity exposes its relationship to the other arts, national institutions, and international politics. From wartime scores by Debussy and Stravinsky to telling retrospective works by Berg, Ravel, and Britten; from "La Marseillaise" to "The Star-Spangled Banner," from "It's a Long Way to Tipperary" to "Over There," music reflected society's profoundest doubts and aspirations. [Verlagsangabe]</field>
      <field key="902" subfield="s">Weltkrieg &lt;1914-1918&gt;</field>
      <field key="902" subfield="s">Musik</field>
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