Over Here, Over There : the Great War and its Musical Consequences
- Submitting institution
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University of York
: A - A - Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : A - A - Music
- Output identifier
- 63068728
- Type
- B - Edited book
- DOI
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10.5406/j.ctvqc6hsz
- Publisher
- University of Illinois Press
- ISBN
- 978-0-252-04270-6
- Open access status
- -
- Month of publication
- October
- Year of publication
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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2
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This edited collection is one output of a larger project, ‘Popular Music of World War I’. (A second major output of the project—a web archive and supporting information—has also been submitted for REF.)
In 2014 the author began working with the Newberry Library and the University of Illinois to design and implement two digital archives of sheet music from World War I. In 2015, as part of that effort, the author collaborated with Christina Bashford and Gayle Magee of the University of Illinois to convene two conferences (in York and Illinois). These led to a series of joint lecture-performances, culminating in an invitation to present the annual AMS lecture at the Library of Congress in 2017. In the meantime, the team planned the edited collection _Over Here, Over There_, based partly on papers given at the two conferences and partly on the still-emerging lecture series.
In the lectures the three researchers each ‘represented’ a different country: Magee, Canada; Bashford, Britain; and the author, the USA. They decided to preserve those roles in writing the ‘Prelude,’ ‘Interlude,’ and ‘Postlude’ to the volume. Hence these three essays are co-authored as a mosaic: each researcher drafted their respective sections, and each of those sections was edited by one of the others. In addition, we each single-authored a chapter. All three of us edited certain chapters, as well; the author was responsible for 1, 3, 4, 5, 7, and 10 (roughly half the volume). The author also took responsibility for compiling, transmitting, and shepherding the text through the publication process. The published volume was supported by a grant from the American Musicological Society.
- Author contribution statement
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- Non-English
- No
- English abstract
- -