This book includes studies of music and politics in the conflict between Russia and Ukraine, including the sounds of Euromaidan, parodies of the Russian national anthem, the Eurovision contest as a geopolitical battleground, and the legacies of Soviet rock.

Zabala is back, and this time with a punch. War Songs is honest, invigorating, and shameless. With elegant watercolor illustrations, this collection of poetry manages to be both empowering yet fragile as it weaves through the delicate journey of a young woman's self-discovery. On your darkest days, this book will crack the spine and leave you singing.

An advertisement in the sheet music of the song “Goodbye Broadway, Hello France” (1917) announces: “Music will help win the war!” This ad hits upon an American sentiment expressed not just in advertising, but heard from other sectors of society during the American engagement in the First World War. It was an idea both imagined and practiced, from military culture to sheet music writers, about the power of music to help create a strong military and national community in the face of the conflict; it appears straightforward. Nevertheless, the published sheet music, in addition to discourse about gender, soldiering and music, evince a more complex picture of society. This book presents a study of sheet music and military singing practices in America during the First World War that critically situates them in the social discourses, including issues of segregation and suffrage, and the historical context of the war. The transfer of musical styles between the civilian and military realm was fluid because so many men were enlisted from homes with the sheet music while they were also singing songs in their military training. Close musical analysis brings the meaningful musical and lyrical expressions of this time period to the forefront of our understanding of soldier and civilian music making at this time.

Music was everywhere during the Civil War. Tunes could be heard ringing out from parlor pianos, thundering at political rallies, and setting the rhythms of military and domestic life. With literacy still limited, music was an important vehicle for communicating ideas about the war, and it had a lasting impact in the decades that followed. Drawing on an array of published and archival sources, Christian McWhirter analyzes the myriad ways music influenced popular culture in the years surrounding the war and discusses its deep resonance for both whites and blacks, South and North. Though published songs of the time have long been catalogued and appreciated, McWhirter is the first to explore what Americans actually said and did with these pieces. By gauging the popularity of the most prominent songs and examining how Americans used them, McWhirter returns music to its central place in American life during the nation's greatest crisis. The result is a portrait of a war fought to music.

This text contains the first three volumes of Christopher Logue's recomposition of Homer's Iliad - Kings, The Husbands and War Music.

Now with all new content by John Ringo! WITH FRIENDS LIKE THESE . . . With the Earth in the path of the rapacious Posleen, the peaceful and friendly races of the Galactic Federation offer their resources to help the backward Terrans¾for a price. Humanity now has three worlds to defend. As Earth's armies rush into battle and special operations units scout alien worlds, the humans begin to learn a valuable lesson: You can protect yourself from your enemies, but may the Lord save you from your allies. At the publisher's request, this title is sold without DRM (Digital Rights Management).

"Listening to the Beat of the Bomb" UPK author Charles Wolfe discusses his work and his new book Country Music Goes to War in the NEW YORK TIMES. While Toby Keith suggests that Americans should unite in support of the president, the Dixie Chicks assert their right to criticize the current administration and its military pursuits. Country songs about war are nearly as old as the genre itself, and the first gold record in country music went to the 1942 war song "There's a Star Spangled Banner Waving Somewhere" by Elton Britt. The essays in Country Music Goes to War demonstrate that country musicians' engagement with significant political and military issues is not strictly a twenty-first-century phenomenon. The contributors examine the output of country musicians responding to America's large-scale confrontation in recent history: World War II, the Korean War, Vietnam, the cold war, September 11, and both conflicts in the Persian Gulf. They address the ways in which country songs and artists have energized public discourse, captured hearts, and inspired millions of minds. Charles K. Wolfe, professor of English and folklore at Middle Tennessee State University, is the author of numerous books and articles on music. James E. Akenson, professor of curriculum and instruction at Tennessee Technological University, is the founder of the International Country Music Conference. Together they have edited the collections The Women of Country Music, Country Music Annual 2000, Country Music Annual 2001, and Country Music Annual 2002.

Classical music in 1940s America had a cultural relevance and ubiquitousness that is hard to imagine today. No other war mobilized and instrumentalized culture in general and music in particular so totally, so consciously, and so unequivocally as World War II. Through author Annegret Fauser's in-depth, engaging, and encompassing discussion in context of this unique period in American history, Sounds of War brings to life the people and institutions that created, performed, and listened to this music.

A prominent conductor explores how aesthetic criteria masked the political goals of countries during the three great wars of the past century This book offers a major reassessment of classical music in the twentieth century. John Mauceri argues that the history of music during this span was shaped by three major wars of that century: World War I, World War II, and the Cold War. Probing why so few works have been added to the canon since 1930, Mauceri examines the trajectories of great composers who, following World War I, created voices that were unique and versatile, but superficially simpler. He contends that the fate of composers during World War II is inextricably linked to the political goals of their respective governments, resulting in the silencing of experimental music in Germany, Italy, and Russia; the exodus of composers to America; and the sudden return of experimental music—what he calls “the institutional avant-garde”—as the lingua franca of classical music in the West during the Cold War.