An issue of the Journal of Musicological Research devoted to “music and military conflict” can be justified only if it explores new ways of understanding those individually complex yet conjoined subjects. Taken together, music and war have been slighted by musicologists, or examined exclusively in terms of individual composers, conflicts, historical eras, and so on. Furthermore, Western “military music” often seems merely practical or mostly patriotic. One of its familiar forms is marches created to accompany soldiers striding in strict formations and scored for brass instruments and percussion. Another form is songs employed by soldiers during training exercises or maneuvers. Variations of these categories include national anthems, trumpet-and-drum passages in symphonies, film scores, and the like, and funereal works honoring fallen combatants.While historically connected tomartial music, the sounds of cymbals, large drums, snare drums, triangles, and other percussion, in and of themselves, may not conjure images of battle. Is this all we can say about music and war? Of course not. When we look and listen more closely, we realize that “warmusic”may be almost any kind ofmusic at all. Popular songs, for instance, may sound “martial” in one way or other, but many of them have nothing directly to do with soldiers or parades. “It’s a Long Way to Tipperary” (1912), a British music-hall number, was sung throughout England and the United States during World War I. Its brisk duple meter and cheerful tune, however, belie its longing for peace. Todd Decker, one of the authors whose reflections appear in the following pages, examines contemporary country songs that express both nostalgia and despair, including Toby Keith’s “American Soldier” (2003). Like other country musicians, Keith “rarely engage[s] with the fraught domestic politics” of America’s invasion of Iraq. Instead, he joins Rockie Lynn, Jeffrey Weber, Chely Wright, and others who have created a body of soldier-centered songs that represent “melodramatic and mournful meditations on the private dimensions” of that challenging struggle. For composers of the eighteenth, nineteenth, and early twentieth centuries, military musical gestures fulfilled a wealth of purposes. The “Turkish style” (loosely based on the mehter or Janissary march music of Ottoman soldiers) was popular with Viennese classicists. Both the “Rondo alla turca” from Mozart’s Sonata, K. 331 (c. 1783), and Haydn’s “Military” Symphony (c. 1794) employ “exotic” sounds—because Haydn’s use of military instruments was in and of itself "Turkish"—to reflect national self-satisfaction. After all, it was Austria’s armies that, in 1683, defeated the Turks to save Europe from Muslim incursion. Other composers employed European anthems to identify combatants and even simulate artillery exchanges in more recent conflicts. Nevertheless, although Beethoven’s so-called “Battle Symphony,” Op. 91 (1813), and Tchaikovsky’s 1812 Overture (1880) celebrate actual victories, neither work is exclusively “martial” in style or audience appeal.

中文翻译：

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“激战”简介

专注于“音乐与军事冲突”的《音乐学研究杂志》的一期只有在探索理解这些单独复杂但又相互关联的主题的新方法时才有理由。总之，音乐和战争被音乐学家轻视，或者只从个别作曲家、冲突、历史时代等方面进行研究。此外，西方的“军乐”往往看起来只是实用的或主要是爱国的。其熟悉的形式之一是为伴以严格编队大步前进并为铜管乐器和打击乐谱曲而创作的进行曲。另一种形式是士兵在训练演习或演习中使用的歌曲。这些类别的变体包括国歌、交响乐中的小号和鼓乐段、电影配乐等，以及纪念阵亡战士的葬礼作品。虽然历史上与武术有关，但钹、大鼓、军鼓、三角和其他打击乐的声音本身可能不会让人联想到战斗的图像。关于音乐和战争，我们只能说这些吗？当然不是。当我们更仔细地观察和聆听时，我们意识到“暖音乐”几乎可以是任何一种音乐。例如，流行歌曲可能以某种方式听起来“军事”，但其中许多与士兵或游行没有直接关系。“It's a Long Way to Tipperary”（1912 年）是英国音乐厅的一首歌曲，在第一次世界大战期间在英国和美国广为传唱。然而，它轻快的双节拍和欢快的曲调掩盖了它对和平的渴望。托德·德克尔（Todd Decker）是作者之一，他的反思出现在以下几页中，考察同时表达怀旧和绝望的当代乡村歌曲，包括托比·基思 (Toby Keith) 的“美国士兵”(2003)。与其他乡村音乐家一样，基思“很少参与美国入侵伊拉克的紧张国内政治”。相反，他加入了 Rockie Lynn、Jeffrey Weber、Chely Wright 和其他人，他们创作了一系列以士兵为中心的歌曲，这些歌曲代表了这场具有挑战性的斗争的“对私人层面的戏剧性和悲伤的沉思”。对于 18、19 和 20 世纪早期的作曲家来说，军事音乐的姿态实现了丰富的目的。“土耳其风格”（松散地基于奥斯曼士兵的梅赫特或禁卫军进行曲音乐）在维也纳古典主义者中很受欢迎。莫扎特奏鸣曲 K. 331（约 1783 年）中的“Rondo alla turca”和海顿的“军事”交响曲（约 1783 年）。1794 年）使用“异国情调”的声音——因为海顿对军事仪器的使用本身就是“土耳其语”——来反映民族的自我满足感。毕竟，是奥地利的军队在 1683 年击败了土耳其人，以拯救欧洲免受穆斯林的入侵。其他作曲家使用欧洲国歌来识别战斗人员，甚至模拟最近冲突中的大炮交流。尽管如此，尽管贝多芬的所谓“战斗交响曲”，作品。91 (1813) 和柴可夫斯基 1812 年的序曲 (1880) 庆祝真正的胜利，这两部作品在风格或观众吸引力上都不是完全“军事”的。其他作曲家使用欧洲国歌来识别战斗人员，甚至模拟最近冲突中的大炮交流。尽管如此，尽管贝多芬的所谓“战斗交响曲”，作品。91 (1813) 和柴可夫斯基 1812 年的序曲 (1880) 庆祝真正的胜利，这两部作品在风格或观众吸引力上都不是完全“军事”的。其他作曲家使用欧洲国歌来识别战斗人员，甚至模拟最近冲突中的大炮交流。尽管如此，尽管贝多芬的所谓“战斗交响曲”，作品。91 (1813) 和柴可夫斯基 1812 年的序曲 (1880) 庆祝真正的胜利，这两部作品在风格或观众吸引力上都不是完全“军事”的。