The development of American liberty and war songs from a few themes during the pre-Revolutionary period to a distinct form of American popular music in the Civil War period reflects the growth of many aspects of American culture and thought. This study therefore treats as historical documents the songs published in newspapers, broadsides, and songbooks during the period from 1765 to 1865. Chapter One briefly summarizes the development of American popular music before 1765 and provides other introductory material. Chapter Two examines the origin and development of the first liberty-song themes in the period from 1765 to 1775. Chapters Three and Four cover songs written during the American Revolution. Chapter Three describes battle songs, emphasizing the use of humor, and Chapter Four examines the figures treated in the war song. Chapter Five covers the War of 1812, concentrating on the naval song, and describes the first use of dialect in the American war song. Chapter Six covers the Mexican War (1846-1848) and includes discussion of the aggressive American attitude toward the war as evidenced in song. Chapter Six also examines the first antiwar songs. Chapters Seven and Eight deal with the Civil War. Chapter Seven treats derivative war songs, including "Dixie" and "The Battle Hymn of the Republic." Chapter Eight treats prominent composers of popular war songs during the Civil War: Stephen F. Foster, George F. Root, and Henry Clay Work. Chapter Nine concludes the study with observations on the development of war songs from 1765 to 1865.

Since European settlement of Australia, patriotic and nationalistic songs have provided entertainment and given an emotional outlet to the people of Australia. Due to their largely printed form, a significant proportion of these songs is still extant. The songs form a distinct subset of the larger popular song tradition. / This thesis documents and analyses all known patriotic and nationalistic songs written and published in sheet music form to the close of World War One. This end date has been determined because it represents a peak in this genre and also signals a radical shift in direction for popular songs with the advent of widespread music recording and broadcasting. / Distinct historical events (e.g. the Sudan conflict, Boer War, and First World War) or themes (e.g. military threats, the rising nationalism leading to Federation of Australian colonies) which influenced or inspired songs in this genre will be discussed. Songs are grouped in distinct chronological or thematic samples. The songs are analysed in this thematic context and then treated using more conventional musicological techniques. The often conflicting ideals of patriotism and nationalism are discussed using the songs as a reflection of contemporary opinion.

Thesis (doctoral)--Göteborgs universitet. / Extra t.p. with thesis statement inserted. Summary in English. Includes bibliographical references (p. 285-321) and index.

Thesis (M.A.) University of Missouri-Columbia, 2006. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (June 26, 2007) Includes bibliographical references.

No description available.

The psyche of an entire people underwent a paradigm shift during the Palestinian Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the 'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest of these pioneers was to rebuild their ancestral homeland. When the pioneering Halutzim encountered the ancestral soil of their Motherland, deep impulses were revealed. Their folksongs - an important component of folklore and mythology - reflected this inner dimension of their being and of their experiences in Eretz Israel by means of archetypal transformations. Initially, an idealistic devotion to reconstruction and intimate reverence for the Land was reflected. However, in the 1930s and 1940s, opposition to Jewish settlement transformed folksongs so they became increasingly militant, reflecting a movement towards extroversion in the Jewish psyche which was consolidated in 1948. / Music / Thesis (M.A.)--University of South Africa, 1997.

The psyche of an entire people underwent a paradigm shift during the Palestinian Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the 'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest of these pioneers was to rebuild their ancestral homeland. When the pioneering Halutzim encountered the ancestral soil of their Motherland, deep impulses were revealed. Their folksongs - an important component of folklore and mythology - reflected this inner dimension of their being and of their experiences in Eretz Israel by means of archetypal transformations. Initially, an idealistic devotion to reconstruction and intimate reverence for the Land was reflected. However, in the 1930s and 1940s, opposition to Jewish settlement transformed folksongs so they became increasingly militant, reflecting a movement towards extroversion in the Jewish psyche which was consolidated in 1948. / Music / Thesis (M.A.)--University of South Africa, 1997.

This study investigates the work of the performer, composer, educator, music therapist and activist Sharon Katz. Beginning in 1992, Katz made history in apartheid South Africa when she formed a 500-member choir that showcased both multi-cultural and multi- lingual songs in their staged the production, When Voices Meet, which incorporated music, songs and dance, intended to assist in promoting a peaceful transition to democracy in South Africa. The success of the concerts of When Voices Meet led to Katz securing sponsorships to hire a train, “The Peace Train”, which transported 130 performers from city to city with media crews in tow. The performers’ mission on this journey was to create an environment of trust, of joy, and of sharing through music, across the artificially-imposed barriers of a racially segregated society. This investigation includes several areas of inquiry: The South African Peace Train; the efforts of the non-profit Friends of the Peace Train; Katz’s work with Pennsylvania prisoners and boys at an American Reform School; the documentary When Voices Meet, and the American Peace Train Tour of July 2016, bringing the message of peace and harmony through song to racially and socio-economically divided Americans on a route that started in New York and culminated with a concert at UNESCO’s Mandela Day celebrations in Washington D. C. These endeavours are examined within the framework of musical activism. The multi-faceted nature of Katz’s activism lends itself to an in-depth multiple case study. Qualitative case study methodology will be used to understand and theorise musical activism through detailed contextual analyses of five significant sets of related events. These include Katz’s work as a music therapist with prisoners in Pennsylvania and a Boys’ Reform School; as activist with The South African Peace Train of 1993; as humanitarian with Friends of the Peace Train; in making the documentary, When Voices Meet, and as activist with the American Peace Train Tour of 2016. In documenting the grass-roots musical activism of Sharon Katz, I hope to contribute towards a gap in South African musicological history that would add to a more comprehensive understanding of musical activism and its role in social change. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)