Canonizing Remembrance

Music for Armistice Day at the BBC, 1922-7

Rachel Cowgill

Research output: Contribution to journalArticle

8 Citations (Scopus)

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.
Original languageEnglish
Pages (from-to)75-107
Number of pages32
JournalFirst World War Studies
Volume2
Issue number1
DOIs
Publication statusPublished - 9 Jun 2011
Externally publishedYes

Fingerprint

Remembrance
Programming
Armistice
Music
Composer
British Culture
Wartime
Modernity
England
British music
Repertoire
Broadcasting
Nationalization
National Identity
Canonization
Cantata
Requiem
Affective
World War I

Cite this

Cowgill, Rachel. / Canonizing Remembrance : Music for Armistice Day at the BBC, 1922-7. In: First World War Studies. 2011 ; Vol. 2, No. 1. pp. 75-107.
@article{1c153b320c934f35a92ad3a336b3614e,
title = "Canonizing Remembrance: Music for Armistice Day at 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 = "6",
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",

}

Canonizing Remembrance : Music for Armistice Day at 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 journalArticle

TY - JOUR

T1 - Canonizing Remembrance

T2 - Music for Armistice Day at 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 -