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eBook Bands of Sisters: U.S. Women's Military Bands during World War II (The American Wind Band) ePub

by Jill M. Sullivan

eBook Bands of Sisters: U.S. Women's Military Bands during World War II (The American Wind Band) ePub
Author: Jill M. Sullivan
Language: English
ISBN: 0810881624
ISBN13: 978-0810881624
Publisher: Scarecrow Press (September 15, 2011)
Pages: 182
Category: Music
Subcategory: Photo
Rating: 4.5
Votes: 107
Formats: mbr mobi lrf lrf
ePub file: 1467 kb
Fb2 file: 1117 kb

Appearing in the "American Wind Band Series," ed. by Raoul Camus, this book considers all eight of the known women's bands and several drum and bugle corps in four branches of the military during WW II.

Appearing in the "American Wind Band Series," ed. With this project Sullivan (music education, Arizona State Univ. She conducted 79 interviews with former band members, gaining not only insight about their participation in the military bands, but also information.

Based on interviews with over 70 surviving band members, Bands of Sisters tells the tale of this remarkable period in the history of American . Jill M. Sullivan is associate professor of music education at Arizona State University.

Based on interviews with over 70 surviving band members, Bands of Sisters tells the tale of this remarkable period in the history of American women.

During World War II, the . military employed all-female bands to support bond drives. These bands drew such attention that they were placed on tour, raising money for the war and boosting morale. Even after the war ended, the bands would last for some 60 years. Based on Jill Sullivan's interviews with over 70 surviving band members, Bands of Sisters: . Women's Military Bands during World War II tells the tale of this remarkable period in the history of American women.

Women's Military Bands during World War II," by Jill M. Sullivan. View it in the Music Periodicals Database.

Legions of Boom: Filipino American Mobile DJ Crews in the San Francisco Bay Area (Refiguring American Music). Johnny Cash and Hank Williams defined the Country and Western style of music during this decade. Classic Rock T-Shirts: Over 400 Vintage Tees from the '70s and '80s. Hip-Hop Authenticity and the London Scene: Living Out Authenticity in Popular Music (Routledge Studies in Popular Music). Singing Cowboys and Musical Mountaineers: Southern Culture and the Roots of Country Music. Cash’s music was more of a country sound with a rockabilly influence and his songs often centered around a certain theme, including life, sorrow, and relationships.

The book is a compact 149 pages divided into seven chapters, an appendix listing all women interviewed, the bands .

The book is a compact 149 pages divided into seven chapters, an appendix listing all women interviewed, the bands in which they served, and the instruments they played, and thirty-two photographs that show each of the bands. In an introductory chapter Sullivan gives an overview of the legislation leading to the establishment of women's military units and women's bands, as well as women's bands prior to World War II.

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бесплатно, без регистрации и без смс. On Saturday, November 14, 1944, radio listeners heard an enthusiastic broadcast announcer describe something they had never heard before: Women singing the Marines Hymn instead of the traditional all-male United. On Saturday, November 14, 1944, radio listeners heard an enthusiastic broadcast announcer describe something they had never heard before: Women singing the Marines Hymn instead of the traditional all-male United States Marine Band. The singers were actually members of its sister organization, The Marine Corps Womens Reserve Band of Camp Lejeune, North Carolina. Today, few remember these all-female military bands because only a small number of their performances were broadcast or pressed to vinyl. But, as Jill Sullivan argues in Bands of Sisters: .

Author of the book Bands of Sisters: . The Marine Corps Women’s Reserve Band of Camp Lejeune was established under the watch of The President’s Own to support bond drives and was active during World War II from 1943–45. In 1944, the ensemble even sat in for one of the Marine Band’s popular Dream Hour broadcasts, a program that will be reenacted in its entirety as part of this concert.

The singers were actually members of its sister organization, The Marine Corps Women's Reserve Band of Camp Lejeune, North Carolina.

Women's Military Bands during World War II). Sullivan - Rowman & Littlefield Publishing. The singers were actually members of its sister organization, The Marine Corps Women's Reserve Band of Camp Lejeune, North Carolina. Women's Military Bands during World War II, these gaps in the historical record can hardly be treated as the measure of their success.

On Saturday, November 14, 1944, radio listeners heard an enthusiastic broadcast announcer describe something they had never heard before: Women singing the "Marines' Hymn" instead of the traditional all-male United States Marine Band. The singers were actually members of its sister organization, The Marine Corps Women's Reserve Band of Camp Lejeune, North Carolina. Today, few remember these all-female military bands because only a small number of their performances were broadcast or pressed to vinyl. But, as Jill Sullivan argues in Bands of Sisters: U.S. Women's Military Bands during World War II, these gaps in the historical record can hardly be treated as the measure of their success.The novelty of these bands—initially employed by the U.S. military to support bond drives—drew enough spectators for the bands to be placed on tour, raising money for the war and boosting morale. The women, once discharged at the war's end, refused to fade into post-war domesticity. Instead, the strong bond fostered by youthful enthusiasm and the rare opportunity to serve in the military while making professional caliber music would come to last some 60 years. Based on interviews with over 70 surviving band members, Bands of Sisters tells the tale of this remarkable period in the history of American women.Sullivan covers the history of these ensembles, tracing accounts such as the female music teachers who would leave their positions to become professional musicians—no easy matter for female instrumentalists of the pre-war era. Sullivan further traces how some band members would later be among the first post-war music therapists based on their experience working with medical personnel in hospitals to treat injured soldiers. The opportunities presented by military service inevitably promoted new perspectives on what women could accomplish outside of the home, resulting in a lifetime of lasting relationships that would inspire future generations of musicians.
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