Musical Modernity and Contested Commemoration at the Festival of Remembrance, 1923–1927

Mansell, James

doi:10.1017/s0018246x09007535

Cited by 25 publications

(3 citation statements)

References 12 publications

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“…Listening to commemorative activities within the home placed them within the profane, rather than the sacred (Durkheim 1976), even more so when incorporated into the evening's entertainment. The Festival of Remembrance held annually at the Royal Albert Hall since 1923, was initially modernist as opposed to populist in tone (Mansell, 2009). The original concert featured Foulds' World Requiem, and was advertised as 'a festival of faith, not of victory'.…”

Section: The Interwar Years: Contesting Practices Of Remembrancementioning

confidence: 99%

“…The original concert featured Foulds' World Requiem, and was advertised as 'a festival of faith, not of victory'. But in 1927 the combined forces of the Daily Express newspaper and the BBC turned it into a more populist broadcast production with pageants and popular songs such as Pack up Your Troubles , and Tipperary included alongside The Last Post and the national anthem (Mansell, 2009). The wireless, transformed an event, which thousands of people could attend into a national event in which millions participated.…”

Section: The Interwar Years: Contesting Practices Of Remembrancementioning

confidence: 99%

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Commemorating the First World War in Britain: A Cultural Legacy of Media Remembrance

Andrews

2018

Journal of War & Culture Studies

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One of the often-overlooked legacies of the First World War is how the conflict established the media's role in remembrance. In the years that have followed, media's circulation of iconic images of national and local commemoration have enabled individuals to engage with public remembrance. This article takes a historical approach to First World War remembrance in Britain, looking at how the practices and meaning of remembrance became established, although they were never fixed but instead constantly shifting, reinvented and contested. They are also gendered, in remembrance, as in war, women, are often seen as to be playing supportive roles; yet within media texts, women have always found spaces to exert influence over who is remembered and how, as memories jostle for prominence. KEYWORDS media; remembrance; commemoration; First World War; genderThe First World War coincided with the rise of the tabloid newspapers, film establishing itself as a popular medium and just preceded radio entering British homes (Williams, 2009;Curran, 2012). In the last 100 years traditional and then new media have played a major role in commemorative activities (Schwartz,

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Section: The Interwar Years: Contesting Practices Of Remembrancementioning

confidence: 99%

Section: The Interwar Years: Contesting Practices Of Remembrancementioning

confidence: 99%

Commemorating the First World War in Britain: A Cultural Legacy of Media Remembrance

Andrews

2018

Journal of War & Culture Studies

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“…Designing new musical instruments (the intonarumori ) was part of this process, but Russolo was not alone in taking this approach. British composer John Foulds invented the sistrum in the 1920s for precisely the same ends (Mansell, 2009). Composers such as Foulds and Cyril Scott also shared Russolo’s interest in enharmonic scales.…”

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confidence: 99%

Book review: Luigi Russolo, Futurist: Noise, Visual Arts and the Occult

Mansell

2013

History of the Human Sciences

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Futurist: Noise, Visual Arts and the Occult. Berkeley, CA: University of California Press, 2012. 296 pp. ISBN 978-0-520-27064-0 (paperback). $34.95.In 2006, I visited an exhibition entitled Luigi Russolo: Life and Works of a Futurist at a little gallery in London, the Estorick Collection, dedicated to modern Italian art. Included in the show were not only Russolo's paintings, a curious mix of typically dynamic futurist scenes and rather less stereotypical mystical reveries, but also peculiar wooden boxes. Upon request, the attendant turned a handle attached to these boxes, filling the gallery with strange sounds. These were Russolo's intonarumori [noise intoners]. Well, they were reconstructions: the original noise-creating machines which Russolo built between 1913 and 1921, and which were infamously demonstrated in the concert halls of London and Paris at the time, were destroyed during the Second World War. Indeed, as Luciano Chessa explains in his fascinating account of Russolo's noise experiments, Luigi Russolo, Futurist, we cannot know what Russolo's original intonarumori really sounded like. Recordings made at the time are too crude and we do not possess precise enough specifications to rebuild them faithfully. According to Chessa, astonishingly, the best source of reference to appreciate the intonarumori's sound is the use of glissando in Maurice Ravel's L'enfant et les sortile`ges. Ravel had originally intended to use one of Russolo's noise intoners in the score and, according to Chessa, given his 'supreme ability as an orchestrator', Ravel's L'enfant 'may be considered a more faithful picture of the intonarumori than any gramophone recording' (150).The true aural quality of the intonarumori matters because, contrary to received wisdom about Russolo and the Italian futurist movement, Chessa argues that futurist noise machines were scientific experiments in the mystical and spiritual power of sound vibrations. In such experiments, the spiritual effects of sound were dependent on precise

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Shrill Demented Choirs

Grant

2016

National Myth and the First World War in Modern Popular Music

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Musical Modernity and Contested Commemoration at the Festival of Remembrance, 1923–1927

Cited by 25 publications

References 12 publications

Commemorating the First World War in Britain: A Cultural Legacy of Media Remembrance

Commemorating the First World War in Britain: A Cultural Legacy of Media Remembrance

Book review: Luigi Russolo, Futurist: Noise, Visual Arts and the Occult

Shrill Demented Choirs

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