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This article reconstructs the history of the famous anecdote about the battle at Langemarck, where German youth allegedly sang “Deutschland, Deutschland über alles” as they hurled themselves against British soldiers, bayonet in hand. Variants, including in poetry and other creative genres, helped to shape a public discourse about bravery. I also reconstruct the discourse on music and war in music journals and daily newspapers, suggesting possible influences on the German High Command, where the anecdote originated. The musical establishment initially ignored this lore—so remote was music in the concert hall from community music-making, including on the battlefield. Yet the enormous weight given to propaganda efforts eventually led musicians to write about and respond compositionally to the Deutschlandlied. The article concludes by examining the conflicting political meanings of the Langemarck anecdote in the decades after World War I.

This article examines a group of Song-dynasty biji 筆記 (miscellaneous jottings) anecdotes featuring the Northern Song literary giant Su Shi 蘇軾 (style name Dongpo 東坡, 1037–1101) playfully engaging with Buddhist encounter dialogues. These religious accounts are well known for their riddle-like language and the baffling effect they create among their readers, prompting the question of whether they were read for humor. Previous scholarship on encounter dialogues focuses on the religious perspective, demonstrating that their perplexing language and rheto- ric serve pedagogical and monastic functions. By contrast, this article explores Chan Buddhist humor from the perspective of the literati and vernacular culture by examining how encounter dialogues were incorporated in Song-dynasty vernacu- lar plays and literati storytelling. Focusing on stories that depict Su Shi’s playful engagement with encounter dialogues as a case study, this article reveals that an important part of Su Shi’s humorous image is inspired and shaped by Buddhism. It also shows that humor in these biji stories is contingent on the readers’ knowledge of Chan literature such as “recorded dialogues” (yulu 語錄) and “transmission records” (denglu 燈錄), which were popular among literati during the Song. The anecdotal materials preserved in biji suggests a mutual influence between Chan literature and vernacular entertainment during the Song. I argue that, in addition to religious functions, literary factors of performance and aesthetics played sig- nificant roles in conditioning the entertaining effect of encounter dialogues, par- ticularly when they were received outside of monastic circles.

They are the First Call, A-list musicians, just 20 feet from stardom, yet rarely receive credit for their work. The hired gun community lives and breathes music, and for the first time, share their incredible stories detailing the highs and lows of touring life, the demands of session schedules, and the dedication required to play next to some of the world's most iconic musicians.

Taking as its point of departure C. P. E. Bach's extensive, and newly reconstructed, portrait collection, this essay explores the ways in which history in the late eighteenth century was conceived at the meeting point between the portrait collector, the physiognomist, and the anecdotist. Exploring the network of ideas and cultural practices by focusing on the collecting of individual countenances and their visual and literary representations, this article argues that anecdote, annotation, physiognomical analysis, and the visual discipline of portraiture were fundamental to the late eighteenth-century conception of music history. Further, it argues that C. P. E. Bach's activity as a portrait collector may be understood as a significant music-historiographical project in its own right, one which played an important role in the work of contemporary, and later, music historians.

A commentary discusses the author's history with \"Perspectives of New Music.\"

In the 1990s, when music was recorded on cassettes and movies on VHS, Vanessa Berry was reacting to the loneliness of life in the suburbs by constructing imaginary worlds and identities from video hits, late-night music programs, band t-shirts, mixtapes and zines, and the 'dark energy' of the Goths. A memoir in essay form, Ninety9 is about the loneliness of adolescence, the importance of friendship, and the magical enclaves to be discovered in the city. Illustrated with the author's drawings and photos, it provides a guide to the end of the millennium for those who were too young to be there, and vivid memories for those who were.

In 1852, Louis-Napoleon Bonaparte, leader of the recently formed Second French Empire, charged a committee of prominent intellectuals and administrators in Paris with compiling and publishing a grand collection of France's folk songs. The goal was to preserve these \"touching testaments to the glory and misfortune of their fatherland\" before the inexorable forces of modernization and centralization rendered them extinct. The committee, under the direction of the Second Empire's Minister of Education, Hippolyte Fortoul, worked to compile an anthology entitled Recueil general des poesies populaires de la France, which (in the words of the official decree) would create a \"comprehensive monument dedicated to the anonymous and poetic genius of the people.\" Here, Rosenberg looks at the writings of two prominent Frenchmen who made excursions to former French territories in North America. They are Vicomte Francois-Rene de Chateaubriand and Alexis de Tocqueville.

Vandagriff interviews Martin Boykan regarding a specific article run in Perspectives of New Music that made a big impact or holds a particular place in his mind. Among other things, Boykan talks about the Perspectives magazine.

Peles talks about his involvement with Perspectives of New Music and the role the journal has played in his professional life. The importance of the journal for his generation can't be wholly, or even mostly, explained by the fact that it was the only game in town. Perspectives was also expressing in print the intellectual sophistication and seriousness of purpose to which his generation of young composers and intellectuals aspired. And more than even that: to them the journal seemed also to be uniquely bearing witness to a period of great intellectual and artistic ferment, capturing the energy and excitement of the time, and conveying to the world their own belief in the importance of the new music and their sense of being involved in a collective enterprise of historical significance. Perspectives was part of a package which included the Group for Contemporary Music, the Columbia-Princeton Electronic Music Center, the League/ISCM, the American Composers Alliance, and all the other people and groups associated with the vibrant New York new music renaissance of the nineteen-seventies.

In an interview, Eleanor Cory discusses her history with \"Perspectives of New Music\" and his career.