American Wartime Music Composers - Cohan & Berlin Term Paper

American contendtime Music Composers - Cohan & Berlin - enclosure Paper ExampleThe 20th century was such a apposition of styles, forms, and genres of music that it was difficult to chose dickens composers who had something in common. Perception is maven of the most important tools of propaganda. For the first time aural perception was feature with the visual. Audiences became more demanding as the subjective choice of music was more diverse and more complicated . The communicate was a significant factor in the mass distri just nowion of different types of music. By World War II, composers of all genre were put in the forefront for the first time in history . distant to social believe, composers were highly touched by the effects of the build of deaths of the World War I and the number of deaths by the flue pandemic which closed households for almost 3 years. The two World Wars created different levels of propaganda and therefore music was used differently. By World War II, audiences expected to be entertained by button to dance halls, jazz bands, musicals, music revues. As radio was a major form of entertainment in the majority of American households, music stations flourished. By World War II, it was common to go to picture show once a workweek. The United States War Office had a Wartime Music Committee. (Sheppard 304) Audiences at cornerstone were under the influence that all was going well in both wars and soldiers were played music when they were in the mess hall saw movies and were fed propaganda that the Americans were winning battles. Music was an important part of the war endeavour Each soldier was given a book of military songs. Over 9 000 songs were composed from the embark on of World War 1. Composers and producers were drafted or volunteered to entertain the troops. At the turn of the century, Musical theatre was a juxtaposition of a group of songs with a slight story line. George Cohan (b. 1878 d.1942) was raised in a family of vau deville performers. (Kenrick) In the early 1900s the US was in a state of economic stability and patriotism. American Musical theater was in its infancy. Vaudeville performances were still common. A group of diverse traveling performers would perform on form with no continuity in the program. He is quoted as saying his family was making $1 000.00 a week in the late 1800s. (Kenrick)When he came to New York, he began writing and composing his own songs and sketches. They were the equivalent of musicals but they were simplistic and missed the continuity of full musicals of today. They were a group of songs, perhaps in different keys without any(prenominal) or a few common musical themes. He is con rampred the father of American Musical Theatre.(Ewan 68) As a proud chauvinist, his song writing was one of the first to be used to promote depicted object cause or national propaganda. As soon as President Wilson declared war, his most far-famed song Over There became a national hit. (Ke nrick) It showed the value of fighting the war. His war songs showed the negative side of staying out of the war. His songs did not take into account the human emotional side of fighting a war. Irving Berlin (1888-1989) was one of many Jewish immigrants who came to the US as a child. He lived in abject poverty. His father was a singer (cantor) in the synagogue so his son would have had vocal religious training. This fact is not to be neglected as a young orthodox Jew he chanted his studies. (Kenrick) Once in the US, his father died within 2 years and as a child I Berlin went to work on the streets to help support his family. Little by little