By the same authors

Canonizing Remembrance : Music for Armistice Day on the BBC, 1922-7

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Canonizing Remembrance : Music for Armistice Day on the BBC, 1922-7. / Cowgill, Rachel.

In: First World War Studies, Vol. 2, No. 1, 09.06.2011, p. 75-107.

Research output: Contribution to journalArticlepeer-review

Harvard

Cowgill, R 2011, 'Canonizing Remembrance : Music for Armistice Day on the BBC, 1922-7', First World War Studies, vol. 2, no. 1, pp. 75-107. https://doi.org/10.1080/19475020.2011.555499

APA

Cowgill, R. (2011). Canonizing Remembrance : Music for Armistice Day on the BBC, 1922-7. First World War Studies, 2(1), 75-107. https://doi.org/10.1080/19475020.2011.555499

Vancouver

Cowgill R. Canonizing Remembrance : Music for Armistice Day on the BBC, 1922-7. First World War Studies. 2011 Jun 9;2(1):75-107. https://doi.org/10.1080/19475020.2011.555499

Author

Cowgill, Rachel. / Canonizing Remembrance : Music for Armistice Day on the BBC, 1922-7. In: First World War Studies. 2011 ; Vol. 2, No. 1. pp. 75-107.

Bibtex - Download

@article{097b77a29af7404ca91d730272c65556,
title = "Canonizing Remembrance :: Music for Armistice Day on the BBC, 1922-7",
abstract = "Broadcasting was one of the principal means by which the affective, social, and political meanings of Armistice Day were constituted in British culture, and music programming was crucial to that process. In the years leading up to its nationalization in 1927, the BBC was inventing itself; and its varying approaches to the selection and scheduling of specific musical repertoire for 11 November over that period have much to tell us about changing responses to the Great War, as well as conflicting notions of national identity, modernity, and tradition. Building on recent historical and musicological scholarship, this article examines the basis of Armistice Day programming decisions at the BBC; reconstructs the internal dialogue surrounding specific works, genres, and composers; and illuminates processes of canonization whereby Elgar's wartime cantata The Spirit of England emerged pre-eminent over works such as John Foulds's A World Requiem.",
keywords = "anti-nationalism, Armistice Day, clairaudience",
author = "Rachel Cowgill",
note = "Special issue: Music & Literature",
year = "2011",
month = jun,
day = "9",
doi = "10.1080/19475020.2011.555499",
language = "English",
volume = "2",
pages = "75--107",
journal = "First World War Studies",
issn = "1947-5020",
publisher = "Taylor and Francis Ltd.",
number = "1",

}

RIS (suitable for import to EndNote) - Download

TY - JOUR

T1 - Canonizing Remembrance :

T2 - Music for Armistice Day on the BBC, 1922-7

AU - Cowgill, Rachel

N1 - Special issue: Music & Literature

PY - 2011/6/9

Y1 - 2011/6/9

N2 - Broadcasting was one of the principal means by which the affective, social, and political meanings of Armistice Day were constituted in British culture, and music programming was crucial to that process. In the years leading up to its nationalization in 1927, the BBC was inventing itself; and its varying approaches to the selection and scheduling of specific musical repertoire for 11 November over that period have much to tell us about changing responses to the Great War, as well as conflicting notions of national identity, modernity, and tradition. Building on recent historical and musicological scholarship, this article examines the basis of Armistice Day programming decisions at the BBC; reconstructs the internal dialogue surrounding specific works, genres, and composers; and illuminates processes of canonization whereby Elgar's wartime cantata The Spirit of England emerged pre-eminent over works such as John Foulds's A World Requiem.

AB - Broadcasting was one of the principal means by which the affective, social, and political meanings of Armistice Day were constituted in British culture, and music programming was crucial to that process. In the years leading up to its nationalization in 1927, the BBC was inventing itself; and its varying approaches to the selection and scheduling of specific musical repertoire for 11 November over that period have much to tell us about changing responses to the Great War, as well as conflicting notions of national identity, modernity, and tradition. Building on recent historical and musicological scholarship, this article examines the basis of Armistice Day programming decisions at the BBC; reconstructs the internal dialogue surrounding specific works, genres, and composers; and illuminates processes of canonization whereby Elgar's wartime cantata The Spirit of England emerged pre-eminent over works such as John Foulds's A World Requiem.

KW - anti-nationalism

KW - Armistice Day

KW - clairaudience

U2 - 10.1080/19475020.2011.555499

DO - 10.1080/19475020.2011.555499

M3 - Article

VL - 2

SP - 75

EP - 107

JO - First World War Studies

JF - First World War Studies

SN - 1947-5020

IS - 1

ER -