World War II was a time full of anger, sorrow, and pain for many between the years of 1939 and 1945. This war not only affected the European countries where the war was staged, but similarly many of the countries throughout the world. From the soldiers, doctors, and nurses on the front line to the Jewish communities who were carried to their death, the Second World War affected everyone.
The role of music in this war, however, played a vital role. A role to which was, in many cases, a greater effect on the war than to the efforts of the Allied Powers. At first, Music in World War II lead to many evident racial tensions, anxiety, and financial battles. However, the end reinstated music as one of the biggest, at home, driving forces of the war. Music generated the center of war related information, news, and its convincing propaganda. It pushed out strong nationalistic views for the world, which, in turn, created great moral and willingness for the war. The motivation for the war in the United States was strongly lacking, at first. …show more content…
Propaganda pieces, intending to be a weapon of war, were created to shape the public’s views in a way to fight for the “People’s War” and not for the government. Many viewed this tactic as uncomfortable and with “horror and aversion”. It was not until after the attacks on Pearl Harbor, did the United States and the world show an acceptable amount of interest in the war effort.
After Pearl Harbor, propaganda usage, and the mass media in general, skyrocketed in the United States. For starters, The Unites States Office of War Information, or OWI for short, was founded in June of 1942 by President Roosevelt. The OWI was first envisioned to be a solo informational and war news broadcast program. This would be done through relations in the papers and radio with no connection for music. The first introduction of music, however, presented itself as an idea to send decoded messages into enemy territories through song. Even then, music was barely present in the OWI. This usage was not scheduled to change, at least until the OWI Special Operations Office hired Alan Lomax as a full-time folk music specialist. Lomax, who was in charge of delivering information to “Negro groups, religious groups, and certain groups not reached adequately by ordinary information media”, began work right away, planning and gathering folk songs to use for research and propaganda purposes. Unfortunately, due to legal troubles, music in this office was ceased in 1943 and Lomax was soon drafted into the army. The OWI office, however, shortly restarted Lomax’s work, but now with the mindset on making American music libraries in American countries, similar to the USSR’s attempt a few years before. In the recording, a collection of symphony orchestra pieces and other works were quickly gathered and distributed, leaving an accomplished message of racial equality and the pleasant American life. Music continued to expand in the OWI office with clear objectives of music for communication of the information and propaganda purposes. To do so, the OWI directed their broadcast for four main groups. Group one aimed toward neutral countries by showing America as powerful and democratic. The second group was designed for the Allied Powers, whom received similar messages to those of group one. Group three focused on the soldiers on the battlefront, broadcasting patriotic and celebratory pieces to promote pride for one’s country. The last group targeted the enemy listeners, especially German ones. The OWI wanted to show America as sophisticated and the land of the free. In turn, programs like Music with Margaret were created and featured “fifteen minutes of popular or serious American music with a running commentary by ‘Margaret’, a lady who specializes in passing witty, burning remarks concerning German Government leaders.” The reception and usefulness of these set groups was overwhelming and the OWI realized that music was going to have a big effect on the war efforts here at home and overseas. Through the integration of the well-received propaganda and the present day popular music, anti-Japanese music also followed suit in popularity. These anti-Japanese songs were often written in certain musical forms and lyrics primarily to show the power and persistence of
The role of music in this war, however, played a vital role. A role to which was, in many cases, a greater effect on the war than to the efforts of the Allied Powers. At first, Music in World War II lead to many evident racial tensions, anxiety, and financial battles. However, the end reinstated music as one of the biggest, at home, driving forces of the war. Music generated the center of war related information, news, and its convincing propaganda. It pushed out strong nationalistic views for the world, which, in turn, created great moral and willingness for the war. The motivation for the war in the United States was strongly lacking, at first. …show more content…
Propaganda pieces, intending to be a weapon of war, were created to shape the public’s views in a way to fight for the “People’s War” and not for the government. Many viewed this tactic as uncomfortable and with “horror and aversion”. It was not until after the attacks on Pearl Harbor, did the United States and the world show an acceptable amount of interest in the war effort.
After Pearl Harbor, propaganda usage, and the mass media in general, skyrocketed in the United States. For starters, The Unites States Office of War Information, or OWI for short, was founded in June of 1942 by President Roosevelt. The OWI was first envisioned to be a solo informational and war news broadcast program. This would be done through relations in the papers and radio with no connection for music. The first introduction of music, however, presented itself as an idea to send decoded messages into enemy territories through song. Even then, music was barely present in the OWI. This usage was not scheduled to change, at least until the OWI Special Operations Office hired Alan Lomax as a full-time folk music specialist. Lomax, who was in charge of delivering information to “Negro groups, religious groups, and certain groups not reached adequately by ordinary information media”, began work right away, planning and gathering folk songs to use for research and propaganda purposes. Unfortunately, due to legal troubles, music in this office was ceased in 1943 and Lomax was soon drafted into the army. The OWI office, however, shortly restarted Lomax’s work, but now with the mindset on making American music libraries in American countries, similar to the USSR’s attempt a few years before. In the recording, a collection of symphony orchestra pieces and other works were quickly gathered and distributed, leaving an accomplished message of racial equality and the pleasant American life. Music continued to expand in the OWI office with clear objectives of music for communication of the information and propaganda purposes. To do so, the OWI directed their broadcast for four main groups. Group one aimed toward neutral countries by showing America as powerful and democratic. The second group was designed for the Allied Powers, whom received similar messages to those of group one. Group three focused on the soldiers on the battlefront, broadcasting patriotic and celebratory pieces to promote pride for one’s country. The last group targeted the enemy listeners, especially German ones. The OWI wanted to show America as sophisticated and the land of the free. In turn, programs like Music with Margaret were created and featured “fifteen minutes of popular or serious American music with a running commentary by ‘Margaret’, a lady who specializes in passing witty, burning remarks concerning German Government leaders.” The reception and usefulness of these set groups was overwhelming and the OWI realized that music was going to have a big effect on the war efforts here at home and overseas. Through the integration of the well-received propaganda and the present day popular music, anti-Japanese music also followed suit in popularity. These anti-Japanese songs were often written in certain musical forms and lyrics primarily to show the power and persistence of