In the Propaganda Songs

Music as War Propaganda

Did Music Help Win The Showtime Globe War?

A special ParlorSongs guest essay by 1000. A. Wells

Throughout World War I, music was a prominent feature on the domicile fronts and the battlefields. Most homes had a piano, and at to the lowest degree one member of each family knew how to play information technology, providing a common form of amusement and socialization. Popular music, therefore, saturated the denizens and reached into all of its corners, forming a dandy medium for conveying messages. Recognizing this capability, governments oft used it as an effective means for inspiring fervor, pride, patriotism, and action in the citizens in order to gain manpower, homeland support, and funds. Composers and publishers readily cooperated and adopted these new musical motifs with which to earn coin from a large population rallied past state of war and eager to respond to the sentiments past purchasing the pro-war music. Besides these incentives, composers and publishers often wrote music to promote their personal wartime sentiments. Dramatic graphics and additional messages printed on canvas music provided extra inspiration to the messages expressed past the lyrics and melodies, markedly increasing their capabilities every bit propaganda vehicles. Music during Globe War I was often used to inspire passion and voluntary compliance in the listeners and, occasionally, shame in those who didn't support the war. Much of the music distributed during World War I greatly influenced social and political attitudes, thereby serving as an constructive propaganda tool for private citizens and governments.

Propaganda is defined as "doctrines, ideas, arguments, facts, or allegations spread by deliberate effort through any medium of communication in order to further i's cause or to damage an opposing cause" and equally "a public activity or display having the purpose or effect of furthering or hindering a cause." (Webster's, 1817, defs. 2 &3) Oxford'due south American Dictionary defines propaganda as "publicity intended to spread ideas or data that volition persuade or convince people." (Ehrlich, 718) Constructive propaganda, therefore, relies its ability to be transmitted to large numbers of recipients in social club to achieve its goal of attitude manipulation. The thought information technology contains must exist received in such a way that the recipient feels as though his response to it is based entirely on his own thinking.

Based on these definitions, music is a highly effective propaganda vehicle. The widespread apply and familiarity of pop songs enables them to function effectively as mediums for letters, and the context and weather condition, such as the emotional climate during wartime, tin can exist used for further enhancement. Music is adaptable, so the melodies, beats, and dynamics can exist adjusted to reflect its bulletin and enhance its impact on the listener. For case, politicians utilise musical fanfare at public rallies to build the momentum of the crowd and generate an emotional response in support of their causes, as is seen in political entrada songs and the protest songs of the 1960s and 1970s. In this way, music provides a weapon of social alter which can be used to achieve specific goals considering the lyrics, together with the melody and rhythms, accept on dissimilar and more than meaning meanings than those that appear on the surface. By promoting ideas and, often, inviting the listener to sing forth in groups as a shared experience, music helps achieve the goals of the propagandist. Besides the instantaneous generation of emotions, the most effective propaganda songs have qualities that make them memorable while relaying their messages in a fashion that is not too emotionally extreme to be accepted. (War Songs, 1) Music permeates the spirit in means that written words alone cannot practice. It is readily retained in memory; therefore people who seldom engage in reading can be reached past music. This is particularly evident in ad and political campaigns when listeners go through their daily routines humming and singing catchy melodies that incorporate the praises of products and candidates. Songs published with the direct intent of improving morale, gaining support, collecting money, or encouraging recruiting are, therefore, propaganda. Propaganda is not always lies or distortion - even truths and facts can be considered propaganda if they are used for the purpose of promoting a cause. The value of music as propaganda, particularly for patriotic causes, is described well in the post-obit quote:

"America'southward war songs and sea songs have played their part as incentives to patriotism, to enlistment in the ranks, to valor in the field and on the body of water, and take served to inspire and cheer the fighting forces of the Republic. People of every nationality are moved to speech or to song by that which permeates the thoughts or appeals to the emotions in times of political excitement. Love of state, together with a pride in its institutions, be the latter of a archaic or more cultured form, smolders in the breast of all mankind. This latent spark when fanned into a blaze of fervor finds vent in speech and in vocal, which in turn inspires to action. Such is the birth of patriotic music. No country, every bit history proves, tin afford to ignore the patriotic forcefulness capable of existence brought into play through the power of music, either in song or in instrumental form, both of which performed their office in inciting to action. It is said that some songs written past Charles Dibdin had so potent an influence in war, that, in 1803, the British authorities engaged him to write a serial of them 'to keep live the national feelings against the French,' and his biographer relates the pertinent fact that "his engagement ceased with the state of war he thus assisted in bringing to a glorious close." (Hubbard, 101)

Dibdin's many war related works include, The Soldier's Adieu written sometime around 1797. Though written for Great britain, as with many English songs, it was brought across the sea and adopted by America, possibly the very foe that Dibdin was speaking of in the lyrics of this great early piece of work. You can click on the music prototype or here to see and hear the Scorch version (printable) or here for the midi version and here for the lyrics.

Some of the about obvious types of musical propaganda are plant in patriotic songs, national anthems, and military music. The social necessity of having a national anthem began with England in the mid-1700s, followed past Spain and France later in the century. In 1845, the Bolivian president commissioned a composer to create a national anthem, which premiered that year at a country commemoration commemorating a battle that led to the first well-divers boundary betwixt Bolivia and Peru. The anthem was proudly performed past a military band in forepart of the governmental palace. On that same evening, in order to finer reach the citizens with this message of musical nationalism, the anthem was performed in the municipal theater where it was sung by a v-role choral arrangement accompanied by an orchestra. These carefully orchestrated events served the regime's purpose by proclaiming the sense of nationalism consort in the anthem. (Turino, 175-179) Contests and sociology festivals were some other mutual activity in nationalist programs, offer incentives such as money and prizes to contestants whose performances were shaped past their perceptions of what the judges wanted. Since the music performed at these events served to propagate the feelings of the organizers, observers were effectively exposed to musical presentations with directed messages, hence propaganda. (Turino, 185)

People of every nationality are moved to speech or to song by that which permeates the thoughts or appeals to the emotions in times of political excitement. This was brought to lite vividly in the following quote just prior to World War I:

"Love of country, together with a pride in its institutions…smolders in the breast of all mankind. This latent spark when fanned into a blaze of fervor finds vent in … song, which in turn inspires to activeness. Such is the birth of patriotic music. No land, as history proves, can afford to ignore the patriotic forcefulness capable of being brought into play through the power of music, either in song or in instrumental form, both of which performed their part in inciting to activity." (Hubbard, 101)

Anti-regime sentiments accept also been effectively inserted into musical letters to relay a message of acrimony or shame at the authorities rather than national pride and cooperation.
Later in the 20th century, considering of the proliferation of radio, the influence of music every bit propaganda was taken to even greater heights by nationalistic dictators, In Brazil between 1930 and 1942, under President Getulio Vargas, a more overt method of musical propaganda was used by Brazil'south Department of Press and Propaganda (DIP) when information technology hired famous musicians and lyricists to compose songs praising Vargas and the regime. (Williams, 86; Dunn, 87) One such outcome is as follows: "Brazil, oh dear land, envied by the New World.
Getulio Vargas appeared, the nifty Brazilian leader,
who amongst your children, as a hero,
was the first (we) however keep in our memory." (Turino,188)

The DIP encouraged composers to utilize popular songs to uplift people from their "marginalized or low-life civilization (malandragem) and to set a good, productive example." Its goal of delivering propaganda in music was achieved past offering payment to composers in exchange for the production of songs that propagated the messages of patriotism and nationalism which were desired by the government. Brazil and other Latin American countries also sponsored folkloric festivals with performance contests to encourage the development of music with nationalistic sentiments. (Turino, 189-192) Popular music served as a medium for delivering messages to the citizens in these countries. Using the do good of an hands recognized popular music mode, the samba beat was used in a piece touting the benefits of spousal relationship, work, and children. The closing line of the song is"

"And if you are a father of iv children
The president offers a prize.
It is a good deal to become married." (Turino, 188)

This popular music manner was a good medium for propaganda because it was already familiar to most citizens and had an entreatment across all class levels. (Dunn, 27)

In the 1930s and 1940s, the arts held a prominent identify in the ideology and propaganda of National Socialism. In 1933, shortly after Hitler became chancellor, Schott published the Badonviller Marsch, Hitler'south "official entrance music" (similar in meaning to the American President's Hail to the Master ) and put together a group of "hearth and home" songs with the championship German Homeland. In 1934, Hermann Blume'southward Adolf Hitler Fanfare was published in a drove of marches. (Kowalke, 4-five) During the summertime of 1942, Hitler suggested that propaganda broadcasts aimed at United kingdom of great britain and northern ireland and America should comprise musical styles that appealed to those audiences, resulting in the use of popular music to deliver messages to other cultures. (Morton,.3) For instance, after the first regularly-worded verse of a song, a phonation came on saying: "Here is Mr. Churchill's latest vocal." The melody was the familiar tune of The Sheik of Araby, a vocal enjoyed during the wartime by both British and American listeners, only the words that followed were unlike:

"I'thou afraid of Germany, her planes are beating me.
At dark, when I should sleep, into the Anderson I must pitter-patter.
Although I'm England'due south leading human, I'm led to the cellar past 10.
A leader in the cellar each night, that's the simply damned fashion I can fight."

Using these altered lyrics, German language government employees attempted to circulate propaganda messages to their enemies using the language and musical style of those enemies. (Morton, 2) In 1944, a collection of 14 songs published in Federal republic of germany displayed a prominent dedication to Adolph Hitler and contained songs entitled Praise to the Fuhrer and One Fuhrer, People, and Reich. (Kowalke, 15-16)

During World State of war Ii, pop music served as American government propaganda by helping to back up preexisting cultural assumptions about the Japanese. Authorities officials understood the power of music and used it to mobilize the American people in back up of the war confronting Japan. Images in the lyrics presented the dissimilarity of an inferior Japan with a civilized and progressive United States. Music composers and publishers, challenged to produce an enemy, used lyrics to dehumanize the Japanese during WWII. They sang of the struggle of the good (meaning Christian) Americans confronting an evil enemy, the "heathen" Japanese, referring to the attack at Pearl Harbor as a "sin" against both the United States and God. The lyrics in When Nosotros Prepare that Rising Sun (1945) proclaimed that Nippon was "a land of heathen people" with "no respect for God or man." Using spiritual overtones in this way gave the Americans a reason to believe that the United States had a moral imperative to participate in the war. The effect of race predominated in anti-Japanese songs merely as it had in those used confronting Germany. With Japan, yet, the focus was on an entire people rather than a segment, such every bit the Nazis, or detail leaders, such as Hitler. Sail music covers furthered the propaganda images by suggesting a hierarchical relationship that likened Japan to a country full of naughty children who needed to be punished by the United States. Canvas music illustrations depicted tiny Japanese soldiers being spanked by a large, faceless hand or over the knee of Uncle Sam. (Moon, 333-339)

Frequently, propaganda songs are written to appeal to public discontent and urge action in a cause. Such was the example later in the 20th century when the lyrics of Bob Dylan'south music inspired participation in the civil rights movement by emphasizing that no one should "plow his head" and ignore race discrimination. This type of music plays with the volition and emotions of the listeners past inspiring them to believe that they have the ability to make a difference if they become involved and take action in response to the new values and principles presented in the songs. Freedom Protest songs during the 1960s also carried this type of bulletin, maxim that the people were the solution to a social problem. The emotional impact of these songs was reinforced by unifying the audience through hand clapping and by phone call and response, a technique where the master vocalist sings a line and the audition repeats it. (Hitchcock, 487)

Referring to the success and the ability of messages relayed by music, Abraham Lincoln gave the following compliment to composer George F. Root regarding his limerick The Boxing Cry of Freedom : "Yous have done more a hundred generals and a thousand orators." (Hitchcock, 487) In more than recent times, even Ronald Reagan'due south praise of the sentiment of Bruce Springsteen'south song Born in the United states of americaA. can exist seen every bit a well-remembered attempt at musical nationalism. (Turino, 175) These are clear examples of governmental officials commending composers on the spectacular bear upon which the messages in their music had on the citizens, exhibiting the power of music to deliver propaganda.

Root's Battle cry Of Freedom is i of the greatest songs to emerge from the American Civil State of war. You can click on the music encompass image or hither to run into and hear the Scorch version (printable) or here for the midi version and here for the lyrics.

"In 1914, with the beginning of hostilities in Europe, war became a major theme in both professional and amateur musical compositions, and the possibilities for the promotion of propaganda and fund-raising for this new cause were heavily pursued. Songs became overwhelmingly patriotic, heroic, and jingoistic. Predictably many songs, (such every bit Canadian Forever and The Pride of the World is the British Navy,) were written to glorify the navy, the regular army, and the new flying corps. The American Legion, which was the Canadian 97th Battalion fabricated up of American volunteers eager to serve prior to America's entry into the state of war, was given a special boost in musical compositions. (Songs, such as Give the Thousand Old Flag a Mitt; a British Vocal,) lauded the British Empire, Dandy Uk, and Ireland's initial promise to surrender its internal struggle for Home Rule during the war. Instrumental marches, recruiting songs, flag songs, and songs praising women'southward efforts on the home front (were abundant in the new repertoire of compositions. The Canadian Weekly of January five, 1918, wrote about) Mrs. Florence Ballantyne, the daughter of the Speaker of the Ontario Legislature and wife of a university professor. As described in The Canada Weekly, January five, 1918, she wrote her song The Call We Must Obey when recruiting lagged, to hearten her sons already overseas. ( An additional recruitment song, Yous Bet Your Life We All Will Get, was written past The Rev. J. D. Morrow, the pastor of Dale Church, Toronto.) True to this message, the cover of his tertiary limerick, Memories of Habitation bears a picture of him in military machine uniform, described as'"Clergyman to our Canadian Overseas Forces.' " (Music on the Home Front Canadian Sail Music of the Get-go World War, Norman, Barbara, p.1, quoted passages used with kind permission of Library and Athenaeum Canada ) Amidst the many slap-up war songs to come out of Canada was Morris Manley's Good Luck to The Boys of the Allies , published in 1915. You tin can click on the music cover paradigm or here to see and hear the Scorch version (printable) or here for the midi version and here for the lyrics. At the onset of World War I, songs were written urging men to join the military, and pop vocalists were hired to perform these songs at public recruiting rallies. A skilful example of a recruiting song used this way was Your King and Land Want You. Men who did not respond to this song past enlisting at the rally were publicly humiliated as they left by being handed white chicken feathers by children who had been assigned this task. The lyrics of this propaganda song were written as though they expressed the feelings of British women who were stoically urging their sweethearts to military machine service for protection of their homes and country. This one song, therefore, represents multiple propaganda messages beyond recruiting, such as producing shame in those who don't respond favorably to its patriotic bulletin, and convincing the women of the state that they must be willing to cede their men for the protection of dwelling and land. (Songs 1-2)

"Lieutenant Gitz Rice, afterwards being wounded in 1917, became the officeholder in charge of war machine entertainment for the Canadian Army." (Norman, 1) His compositions conveyed letters related to the soldiers, such as He Will Always Remember the Niggling Things You lot Practice, written to provide encouragement to women in their state of war efforts, and Keep Your Head Down, Fritzie Male child, which was written at the Battle of Ypres in 1918.. (Norman, two) Amidst Rice's many battle related works was too the wonderful and patriotic song, We Crush Them At The Marne which straight tries to shout downwards the pacifists (see the lyrics). You tin can click on the music cover image or here to see and hear the Scorch version (printable) or hither for the midi version and here for the lyrics. Intense pressure level was exerted by both the regime and society to enlist in the military machine during this wartime catamenia, therefore recruiting was one of the master themes reflected in music. Non-serving young men were stigmatized as is evidenced by the following argument which composer John C. McFadden felt a demand to print on his vocal Liberty: "Being unfit for the Fighting Front as my certificate shows…" (Norman, 3) Lyrics in music prompted those not enlisted to contribute money, as seen in the words of composer Walter St. J. Miller "If we cannot do the fighting nosotros tin can pay." (He's Doing His Scrap - Are You?) Canada's sheet music during World War I encouraged and praised volunteering for the military in songs such as Where are the Boys Who'll Fight for Dear Old England and Our Empire Boys. Conscription is rarely mentioned, with an exception being the following quote from The Call for Soldiers:

"My men sign at present, For your King and land call.
Don't desire to be forced to answer it, Just step upwardly one and all."

Information technology's as well rare to find songs opposing World State of war I in the National Library of Canada's collection. Songs produced in Quebec expressed the same messages and concerns equally those from English Canada, except for, mayhap, less accent on the defense of the British Empire. The low cost of sheet music fabricated it suitable for fund-raising, an effective style to promote support of the war, while at the aforementioned time spreading the music which contained pro-state of war letters. Spurred on by the war, the American public hungered for more patriotic-themed music, and composers grabbed the opportunity to write and publish their compositions to exist sold for various patriotic causes. (Norman, iii)

Betwixt mid-1914 and mid-1919, 35,600 American patriotic songs were copyrighted, and 7,300 were published, all available to stir the citizens' response to the state of war and the state. (Watkins,265) In response to the sinking of the Lusitania in 1915, American music publishers put messages in songs like When the Lusitania Went Down, preparing the citizens for an inevitable entry into World War I. (Watkins, 246) You can click on the music comprehend image or here to encounter and hear the Scorch version (printable) or here for the midi version and here for the lyrics. Some songs encouraged a change in feelings in the American people, such as In Time of Peace Ready for War which expressed a newly aroused martial spirit. President Wilson continued to assert that "we are as well proud to fight," and in 1916, he was reelected on the slogan "he kept us out of the state of war." In response to the same martial songs, there were too anti-war propaganda songs, some in back up of President Wilson, such as Our Hats Off to You Mr. President. Other anti-state of war songs used the appeal of "the voice of motherhood, "such as Don't Take My Darling Boy Away (Scorch version). The bulletin came through loud and articulate in the title of I Didn't Raise My Boy To Be a Soldier (subtitled A Mothers Plea for Peace, respectfully dedicated to every Mother- everywhere"). The lyrics preached to mothers worldwide that if they united in the cause, they could put an end to the fighting and save the lives of millions of young soldiers. This is particularly noteworthy in this excerpt from the lyrics:
"There'd be no war today
If mothers all would say,
'I didn't raise my boy to be a soldier'."
The embrace of the canvas music portrays exploding shells bursting around an one-time grayness-haired adult female protecting her son. This song adapted easily to a ragtime form (popular music style then) played by popular pianists, which enabled information technology to go widely disseminated, an important aspect of effective propaganda. In fact, the publisher Leo Feist "boasted that more 700,000 copies were sold in the showtime viii weeks." You can click on the music comprehend epitome or here to see and hear the Scorch version or here for the midi version and here for the lyrics. An equally pacifist song entitled Stay Down Here Where Yous Vest. was written by the famous composer Irving Berlin. To create a stronger message for pacifism, these two anti-war songs were released on a unmarried recording in March of 1915, and they met with high sales success until the The states entered the war in 1917. Since the dissemination of this anti-state of war music was existence handled by those in the business organisation of making money from their music, the reduction in sales caused past the unacceptability of being anti-state of war after April, 1917 caused the Victor Talking Machine Visitor to withdraw the recording. (Watkins, 248-249)

Political leanings decide much of a population's reaction to a genre, such as how they perceive it and are afflicted past it. With a major European state of war (1914-1918) stimulating a renewal of patriotism and national pride in the warring countries, at that place was a slap-up opportunity for music to become the catalyst for governments to recruit soldiers, maintain enthusiasm among those in the military, encourage cede from the population, and proceeds homeland support for the war effort. Encouragement of homeland morale was urged in songs similar, Everybody Do Your Fleck (Scorch) . Propaganda messages in the music project the power of involvement in a cause, the respect that others will have for your courage, power, and determination, and the self-respect that you will feel. Successful propaganda songs make you feel that y'all take no limits if you go on fighting for the right things as prepare forth in the songs, and they frequently stress that y'all are non solitary in your fight. The emotions and torso language of the performers add another element of persuasion to the message. This music was written to encourage action and support for causes. The dynamics, harmony, and rhythms of the music also play a big part in its furnishings. Some music was written to cheer up the citizens and the soldiers in order to aid them cope with or even overlook the horror and pain of war. Well-nigh World War I vocal lyrics did non conspicuously depict the realities of the state of war, but instead they gave the impression that everyone would exist fine and that the state of war would finish shortly. (WWI canvas music,.3)

Later on declaring on April sixteen, 1917 that the American troops were joining in the war, President Wilson faced the task of swaying public stance in favor of the conscription and mobilization of troops. Anti-war sentiment was notwithstanding stiff amidst the American citizens, and had been an important part of the foundation on which Wilson was reelected. The twenty-four hour period after Wilson'southward announcement of war against Germany, George M.Cohan composed Over There , a march containing lyrics that stressed patriotism and a sense of national identity. It was ane of the most successful American pro-war propaganda songs, enthusiastically inspiring the American spirit of confidence nigh the ability of our troops to end the war and return dwelling house safely. Since it was a march, it was hands sung and enjoyed, and proved to be an effective propaganda tool at the onset of the war for recruiting and homeland back up. Information technology was publicly advertised that the royalties from this song were donated to war charities, so this music was of even more value as a pro-war tool. Beingness an all-American venture, i canvass music embrace (i of several) was fatigued by famous American creative person, Norman Rockwell, and it showed soldiers happily joined in song, sending the positive message of the effects of song on the troops, both from the standpoint of morale and of unity by singing together. Over There had gained so much popularity that Enrico Caruso, a world-famous singer, recorded information technology in both French and English language, another good propaganda motility. The song sold 2 million copies of sheet music and one 1000000 recordings past the time the war was over. The bulletin from Over There was so constructive that Cohan was later awarded a special Congressional Medal of Award.You can click on the music embrace paradigm or here to see and hear the Scorch version (printable) or here for the midi version and here for the lyrics. Hither also is a terriffic MIDI version from an Ampico Piano scroll created by Terry Smythe. (Watkins, 257-259) By using a variety of methods to print its patriotic messages in the minds of the citizens, Over There proved to exist a versatile and far-reaching disseminator of pro-state of war propaganda. Inspired by this new spirit of pro-war enthusiasm, Americans eagerly accepted patriotic messages portrayed in songs, allowing them to serve as stiff vehicles for propaganda. Anti-war messages were replaced with songs such as I Did Not Raise My Boy to Exist a Coward, and I'd Be Proud to Exist the Mother of a Soldier. Americans heard, responded enthusiastically to, and sang, America, I Honey You , (click cover for the Scorch version, here for midi and here for lyrics. Also, another bang-up piano roll version from Terry Smythe. This 1 is taken from an Avtokrat Piano roll) Under the American Flag, and We'll Never Permit Our Sometime Flag Fall. (Ewen, .231)

Likewise overcoming a persistent anti-state of war sentiment, President Wilson had to bargain with a large percentage of American citizens who were from other cultures, notably Germany, confronting whom nosotros were fighting in the war. High on the government's agenda was the need to win the support of the citizenry for dwelling house front support and recruiting. Amidst the many early on "phone call to arms" songs written correct before the war or as the Usa enetered the state of war was this stirring vocal, Wake Up America (click cover for the Scorch version, here for midi and here for lyrics.) In 1917 the government formed a new agency entitled the Committee on Public Information (CPI) in social club to sway public opinion in favor of the war and all that it might eventually involve. This was the crux of an boggling propaganda campaign aimed at shaping public opinion in America in favor of the war effort. A progressive and influential journalist named George Creel was chosen to head the agency which employed 75,000 speakers ("4-minute men") hired to evangelize patriotic messages to churches, music halls, schools, and other public places using music every bit 1 of their chief modes of transport. (Ewen, 2-3). Songs written by government composers identified only as "Army Song Leaders" centered on addressing the cultural multifariousness of our citizens inbound the United States Ground forces linked by the common desire to win the war against Federal republic of germany. An example of one of these songs is Good Morn, Mr. Zip-Nil-Zip (Scorch format) in which the lyrics testify how the Army takes people from diverse groups and regiments them together for the aforementioned purpose. The "Zilch-Nil-Zip" in the song championship means that you can insert any proper name (first, middle, terminal) of any nationality, religion, or indigenous grouping. They are all taken every bit. This is seen in the sample of the lyrics every bit follows:

"We come up from ev'ry quarter, From Due north, S, E, and West,
To clear the way to freedom, For the land we love the best.
We've left our occupations, And home, then far and beloved,
Simply when the going's rather crude, Nosotros enhance this song in cheer:
Good morning time, Mister Zilch-Zip-Zip, With your hair cutting just as short equally mine,
Good Morning, Mister Nil-Aught-Zip, Yous're surely looking fine!" (America to War 1B, 2)

Songs played an important role in this abundance of propaganda. Song writers encouraged people to spend evenings singing war songs, and information technology became the patriotic thing to do at this time of the war. Citizens were urged to join together in patriotic songs at home, in theaters, in arranged songfests, at community sings, and at Liberty Bond rallies. The CPI issued songbooks of patriotic music which were distributed to audiences in music halls to stimulate communal singing and build home-front morale, and special vocal leaders dispatched by the regime visited the theaters to promote this activity. Each of the CPI'southward 19 domestic divisions centered its efforts on a particular type of propaganda, such as newspaper, academics, music, artists and filmmakers. The agency achieved its pro-war propaganda goals through well-planned emotional appeals and the demonizing of Germany, both successfully accomplished using musical lyrics, grotesque sketches on sheet music, and anti-High german messages in the lyrics of sheet music. Confirming the veracity of this approach, Harold Lasswell, a renowned political scientist, wrote: "So great are the psychological resistances to war in modern nations that every war must appear to be a state of war of defence confronting a menacing, murderous aggressor. There must be no ambiguity nearly who the public is to detest." Atrocity stories near the enemy imply that state of war is only brutal when practiced by the enemy. (Delwiche, 2-4)

Government song leaders also paid visits to the troops and supplied them with patriotic songbooks, encouraging soldiers to sing many of the popular well-known marches and war songs. Occasionally they would update the songs with words such as Downward with the Kaiser, to encourage a more positive morale amidst the soldiers. Many of those who entertained the troops attempted to alter the moods conveyed in the trench songs by making them into parodies, thus overriding their bitterness with a more carefree and optimistic mental attitude. John Philip Sousa, an American composer, was recruited to train young bandsmen at the Smashing Lakes Naval Training Center. After completing this stint, he continued to provide patriotic inspiration with his music at Liberty Loan rallies and Cerise Cross relief drives. (Watkins, 267) Also reinforcing a sense of patriotism in the soldiers through his marches, Sousa's music was successful in inspiring habitation state back up at these rallies and drives.

During World War I, music publishers, such equally Leo Feist, claimed that music would aid win the war. (WWI Sheet Music #1, i) Many music printers were available to publish "for the composer," and professional musicians were fix, willing, and able to polish or "arrange" any slice. (Norman, ane) American, Canadian, and British sheet music covers from Earth State of war I were equally impressive in the messages they projected, often displaying blatantly obvious patriotism, hatred for the enemy, and pleas for home front support, or a combination of these. (Watkins, 268) Sheet music was promoted in daily newspapers, and samples of newly published songs were printed in Dominicus supplements, allowing wider dissemination and outreach for the musical letters of patriotism and encouragement. The graphics on sheet music covers aided their sales by featuring fine art that gave a visual boost to the messages contained in the music. (Watkins, 268) During World State of war I, governmental influence was noted when music publishers issued their sheet music in a reduced format bearing the following patriotic message: "To cooperate with the government and to conserve paper during the war, this song is issued in a smaller size than usual." Leo Feist'due south canvass music editions influenced purchasers by declaring: "Salvage! Salve! Save is the watchword today. This is the spirit in which we are working and your cooperation will be very much appreciated." (Watkins, 261) Many other publishers acted similarly, often using entire pages to nowadays monographs virtually war music and to promote public support of the war effort. Publisher Joseph W. Stern frequently printed slogans and patriotic thoughts on his canvass music, such as "Food will win the state of war, don't waste it!" Clearly indicating that this music was written to evoke certain reactions, Joseph Stern developed half dozen categories for World State of war I music, based on their purposes: "one) Cheer-Upwards Type, two) Carol Blazon, three) Stirring march Type; four) Highly-seasoned Type (appealing for support); 5) Comic Type; vi) Victory Type." (WWI canvass music # one, 4-.5) Sail music had thus become a formidable pro-war propaganda. With new and exciting subjects to illustrate, World War I became 1 of the most colorful periods of American sheet music. Images of Uncle Sam proliferated, and songs such every bit Quondam Glory Over All featured Uncle Sam, the Flag, and a sketch of large groups of men marching off to war . (WWI Sheet Music #two, 1) Harry Von Tilzer'southward The Man Behind the Hammer and the Plow," sang about the: "Mechanic and Engineer, all honest sons of toil, the backbone of the earth today, The man who tills the soil, It'southward up to him to win the battle at present." On the back of that sheet music was a copy of President Wilson's April 15, 1917 "Announcement to the People" seeking support of our war endeavour. ( WWI Sail Music # 2, three )

Female person imagery was oftentimes employed in pro-state of war propaganda music. Oftentimes recurring themes dealt with mothers willing to sacrifice their sons for the do good of the land America, Here's My Boy (click cover for the Scorch version, here for midi and here for lyrics.)and a mother's patience and support of the state of war (The Petty Grey Female parent Who Waits All Lone). Much musical propaganda based on motherhood, withal, centered on the value of the female parent as a recruitment ploy in songs like America needs You Like a Mother, Would You Turn Your Mother Downward? Another of import prototype of the female in pro-war propaganda music portrayed the single adult female waiting faithfully for her sweetheart while maintaining her faith in victory, heralded in songs such as If He Tin Fight Like He Tin Dearest, Good Nighttime, Frg! An interestingly different focus in songs centered on women'southward wartime efforts, relaying the message that it was more acceptable for women to take on tasks which prior to this time were considered more masculine. Equally a effect, this was a menses when women began to acquire more than freedoms, rights, and responsibilities, leading to a song which delivered a message to men regarding the potential roles of women in the postwar economy: You'd Amend Be Nice to Them At present. (Watkins, 262-263)

The ranks of professional entertainers were greatly reduced because of enlistments and the draft, and so theaters responded by devising new forms of public entertainment, such as vocal competitions in which newly written war songs were introduced by vocal promoters from Tin Pan Alley (the nickname given to the whole group of composers and publishers of popular music). The audience would vote for a winner from those songs. Tin Pan Aisle met this increased need for state of war songs with compositions roofing a wide range of wartime subjects. Songs were written to stir upwardly patriotism, arouse the fighting spirit, incite hate or contempt for the enemy, provide relief from war tensions, inspire hope and optimism, and glorify branches of the armed forces. The Kaiser was always presented as the arch villain in this war with over a hundred anti-Kaiser songs produced by Tin Pan Alley, such as: We Are Out for the Scalp of Mister Kaiser, We Want the Kaiser's Helmet Now, and We Will Make the Kaiser Wiser ( sung to the tune of John Brown's Trunk). Demonizing him further every bit the state of war continued, the Kaiser songs became even more than fell, such every bit: We're Going to Hang the Kaiser on the Linden Tree, We're Going to Whip the Kaiser, The Crazy Kaiser, I'd Like to Encounter the Kaiser with a Lily in His Hand , (click cover for the Scorch version, here for midi and here for lyrics.) We'll Give the Stars and Stripes to the Kaiser, If I Merely Had My Razor Under the Kaiser's Chin, Shoot the Kaiser and The Kaiser is a Devil. The feeling ran then deep that fifty-fifty after the Armistice, detest songs continued about the Kaiser: Hang the Kaiser to the Sour Apple Tree, We've Turned His Moustache Down, We Sure Got the Kaiser, We Did, and The Kaiser Now is Wiser.(Ewen, 231-233)

Music composers, while entering the pro-war campaign for economical benefit, wrote songs which promoted the popular thinking aspired to by the government. Irving Berlin, (who had formerly composed pacifist music), Edgar Leslie, and George W. Meyers released the patriotic song, Allow's All Be Americans Now, (click cover for the Scorch version, here for midi and hither for lyrics.) which was immediately recorded past the American Quartet. The lyrics of this song reminded citizens about the indigenous diverseness of the land while stressing the fact that all were joined nationally by citizenship. It encouraged all American citizens to put aside whatsoever previous loyalty to other homelands, and "fall in line/ You lot swore that you lot would,/ And then be true to your vow,/ let'south all be Americans at present!" (Watkins, 251-252) Irving Berlin was recruited into the armed services in 1917, and a commanding officer requested that he write and produce an all-soldier show to raise $35,000 for a much-needed Service Heart for the soldiers. Besides starring in the review, Yip, Yip, Yaphank, which was staged in 1918, Berlin wrote all the songs, sketches, dialogue, and dance routines. In 1 scene he played a whiny K.P. singing, "I scrub the dishes against my wishes to brand this world safe for democracy." In another scene, dragging himself out of his cot in response to reville, Berlin sang Oh, How I Hate to Get Up in the Morn, (Scorch format) which became i of the nearly successful comedy songs of WWI. The revue concluded with a showy finale, Nosotros're on Our Way to France, with the entire cast dressed in full military dress as they depart for overseas duty. This play received a continuing ovation after the final drape, followed past a speech made by a member of the military, General Bong, in which he remarked about the affect of Berlin's musical every bit follows: "I take heard that Berlin is among the foremost songwriters in the earth, and now I believe information technology." Yip, Yip Yaphank continued to play to capacity houses for four weeks and exceeded its original goal by earning $83,000 for Camp Upton'south Service Center. The show made a curt tour of Boston, Philadelphia, and Washington, D.C., later on which time the sum had grown to over $250,000. This military-themed musical was enjoyed by large numbers of people, modifying their perceptions of the war through its lighthearted arroyo to military life, while at the same fourth dimension enabling people to feel that they were serving the war purpose past altruistic money for the benefit of the military machine. During state of war time, Berlin took no additional salary or royalties for anything connected with the show. After his discharge, nonetheless, he reaped keen budgetary rewards from the show's songs. (Ewen, 235-236)

From the beginning of America's entry into World State of war I, artistic forms of the Viennese operetta lost favor with the public because of Republic of austria'due south alliance with the German empire. Offering an acceptable culling, American musical theater grew rapidly to fill the void, providing another pop venue for dissemination of music with wartime messages. Opening in Dec, 1917, the Cohan Revue of 1918, featured a famous songstress performing The Human Who Put the Germ in Germany, with a chorus that begins and ends with a series of patriotic puns as follows:

"We're proud of the Volition we plant in Wilson
The man who put the US in Usa…
But the world is now aflame, At the HELL in Wilhelm's name,
The homo who put the GERM in Frg." (Watkins, 255)

Referring to the troops who had departed for France, The Passing Evidence of 1917 had a highly emotional production number for the song, Bye Broadway, Hullo France, (Scorch format) which focused on repaying our debt to French republic for the assistance and support it had given us in the American Revolutionary War. (Watkins, 253) Earth War I propaganda music, was, therefore, very much a part of the Broadway musical theater with many musicals having martial titles and themes, such equally Over the Top and Doing Our Bit; and the musical The Amend 'Ole (1918), which was based on Captain Bruce Bairns' experiences in the trenches. Many of the individual production numbers in revues and musical comedies assumed a pro-war military grapheme. The Ziegfield Follies of 1917 airtight with a patriotic finale which began with Paul Revere'due south ride, included George Washington and Abraham Lincoln, and ended with President Wilson doing a review of the American troops. To add to the emotional stimulation, hence the propaganda value, for this last scene Victor Herbert wrote Can't You Hear Your Land Calling, which as Herbert's biographer, Edward N. Waters, wrote, "helped to whip the crowd to a high pitch of excitement." (Ewen, 235)

It is noteworthy that many of the songs reviewed above apply "we" in the lyrics, an effective strategy that allows direct participation by those singing the vocal, plus the word "we" creates a group try, a solidarity of thought and activity, all goals of effective propaganda. Besides this arroyo, many WWI songs had a rousing martial ring accompanied past a potent patriotic message, such equally: We're Going Over, Just Like Washington Crossed the Delaware, Full general Pershing Volition Cross the Rhine, We Don't Desire the Bacon - What Nosotros Want Is a Slice of the Rhine, Go along Your Head Down Fritzi Male child, Lafayette, We Hear You Calling, Your Land Needs Yous and Liberty Bong, It's Fourth dimension to Band Again. (Scorch format) These messages were purposefully effective in instilling the spirit of war in the consciousness of civilians. In 1918 the United States government banned "peace songs" as " comforting to the enemy," and governmental officials set up restrictions apropos which songs could exist sent to overseas combatants. (Marks, 193) Restricting exposure to any specific types of music indicates that there'southward an expected issue from it on those who hear information technology, indicating that the music was clearly delivering a bulletin which the government did not want people to hear, therefore making the deletion of the message into a propaganda motility.

Throughout World State of war I, gigantic rallies accompanied past fanfares from marching bands and performances by famous singers urged the buy of war bonds, providing propaganda that enabled the American mobilization attempt to rely less on actual legislation and more than on passions angry by the messages in this music that led to voluntary compliance with the government's goals. (WWI, History Ch., 3) Victory songs, beneficial to the morale of both citizens and soldiers, were written by many composers during World War I. (WWI Sail Music, # 3, .3) Patriotic music, especially at the onset of World War I, relayed an unrealistic view of the state of war to our soldiers and citizens. The lyrics described how the Germans would run abroad from our forces with hardly whatsoever American bullets being spent in the procedure. These songs were so filled with patriotism and bragging that soldiers were convinced they would have an easy time in this battle. Among the many optimistic flag waving songs published during the state of war was this keen march vocal, We'll Acquit The Star Spangled Imprint Thru The Trenches by Daisy Yard. Erd, a Yeoman in the Navy during the war.(click cover for the Scorch version, here for midi and hither for lyrics.) Youth and optimism ruled as the recruiting songs, especially marches, beckoned them with messages lauding the greatness of our homeland and denouncing the evil of the enemy over whom we would surely reign supreme. This military march-style music was designed to become the claret flowing and stir patriotism in these "going to state of war songs." (American Music, 6)

The importance of music in sending messages that boosted morale and back up during the war was reflected by a writer for the New York Evening Mail in August 1918 who addressed the subject of the proliferation of pro-state of war music equally follows:

"New Songs of War: Vulgar and Cheap? No dubiety, they are often then…We tin can afford to have the people singing many shabby, faulty songs, forth with better ones, but nosotros could never afford to have them singing none at all.'

These "vulgar and cheap" songs were performed by many concert artists, both at bail rallies and in their more formal concert programs. Leonard Liebling wrote in the Musical Courier of August, 1918 as follows: "Our nation is existence stirred fundamentally at this moment, and the primitive and elemental, rather than the subtle and cultured emotions and impulses, (are) fix to react to the sentiment, written, spoken, or sung - peculiarly sung." (Watkins, 264-265). Music was, therefore, seen as creating pro-war back up and encouragement while maintaining emotional balance in the citizens, clearly goals independent in effective propaganda.

John Philip Sousa, in his memoir Marching Along, addressed the appeal of marching music as follows:

"I remember Americans (and many other nationals for that affair) burnish at the tempo of a stirring march because it appeals to their fighting instincts. Similar the crush of an African war drum, the march speaks to a primal rhythm in the human organization and is answered. A march stimulates every center of vitality, wakens the imagination and spurs patriotic impulses which may have been dormant for years. I can speak with confidence because I have seen men greatly moved by a few measures of a really inspired march". (Moon, 347)

Addressing the same topic, during World State of war Two, Rep. J. Parnell Thomas of New Jersey agreed with Sousa, noting that "what America needs today is a good 5 cent war song. The nation is literally crying for a good, peppy marching vocal, something with plenty of zip, ginger, and burn down." (Moon, 347) Even further proof of the propaganda value of marches comes from Warren Dwight Allen, professor of music at Stanford Academy during World War Ii: "Marching calls for organization; a marching people must be united … everyone must 'keep step'…and the march toward world unity is possible because of certain principles of musical system that are closely akin to the principals of political unity." (Moon, 347)

Every bit Globe State of war I drew toward its close, the music manufacture continued to churn out large numbers of patriotic songs, urging continued enthusiasm for the war in which the songs proclaimed that we would be victorious and should continue to back our brave troops, such equally: We're Going Through to Berlin, Nosotros are Going to Whip the Kaiser, and We Shall Never Surrender Old Glory. (Watkins, 256) The Navy Took Them over and the Navy Will Bring Them Back , (click cover for the Scorch version, hither for midi and here for lyrics.) was a gesture to the men in blue on the high seas (Ewen, 235) When the soldiers returned abode from the war, they soon discovered that while they were overseas fighting for the rights of those at home, profiteers on the abode front end had become rich from the war, many through canvas music, and the number of American millionaires had increased past four thousand. (Ewen, 237) Music proliferated as a propaganda class during Earth War I being written and played to achieve the pro-state of war behaviors and responses which the government, music composers, and music publishers desired from the citizens. Patriotic music was encouraged to maintain a heightened level of support throughout the war, and it also provided a new theme with which music composers and publishers could further their personal beliefs and economic goals. Equally shown by the vast amount of testify in this paper, music, through its lyrics, dynamics and graphics has, throughout history, notably in Earth War I, instigated all of these reactions, and, therefore, qualifies equally an effective form of propaganda. Perchance Leo Feist's statement that music won the war cannot be verified, but it tin can be said with certainty that World War I has forever changed the face of music.

This article is Copyright © 2004 by Yard. A. Wells and The Parlor Songs Academy No role may be reproduced, copied or reprinted without the express permission of the authors.

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Going to War." Parlor Songs. 1997. 29 Aug. 2003.
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Botstein, Leon. "Forgotten Patriotisms; Music every bit Political History" 24 Nov. 2003.
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Delwiche,, Aaron. "Propaganda: World War I Demons, Atrocities, and Lies" Propaganda Analysis 12 Mar. 1995. 6 Dec. 2003. Wartime Rev. iii/12/95. (http://carmen.artsci.washington.edu/propaganda)

Dennis, David B. " 'Honor Your German Masters': The use and abuse of 'classical'composers in Nazi propaganda." Journal of Political & Armed forces Sociology. xxx.2. (2002): 273-295.

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"English language Songs Popular During the Showtime World War." Veterans Diplomacy Canada. 4 Sept. 2003 (http://www/vac-acc.gc.ca/full general/sub.cfm)

Ewen, David. All the Years of American Pop Music. Englewood Cliffs, N.J.: Prentice-Hall, Inc. 1977.

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