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International audience ; Historians, in my view, can be best defined by the questions they decide to ask. My approach to popular song is to maintain that it does not illustrate history with a capital H, history which happens elsewhere in muddy trenches or oak-panelled offices. It rather constitutes a series of mass activities which are a part of history, just as much as are other activities such as working or fighting. This is the reason for the title of my paper: "The Uses of British Wartime Song". The question positions popular song as a material activity serving a purpose, and not as an expression of "national spirit", "the soul of the people" or the "zeitgeist", nor as only a particular stage in the artistic development of a musical genre. As we shall see, many of the specific characteristics of the mass activity, and of the structure of the music industry, influence the repertoire: notably the importance of audience singalong, and the absence of a system in the United Kingdom of paying royalties to songwriters. Putting the question of the "uses" of the popular song at the heart of the question reminds us of another significant element: songs can sometimes be used for purposes which were not decided by the creator of the song.I shall begin by presenting briefly the nature of the popular music industry in 1914. I shall then treat some of the myths that have grown up about wartime song, mostly in the absence of large-scale archival work and very much coloured by the idea of the "home front" – the view of all activity in the nation as subordinate to the empire's military objectives. After this, I will deal with the particularly political groups of songs- the enthusiastic war songs in the early months, and the occasional dissenting songs throughout the conflict. Finally, I will focus in on the foremost use of the songs as a kind of collective catharsis of everyday life, showing very strong continuity with pre-war and post-war repertoires and processes.

International audience ; Historians, in my view, can be best defined by the questions they decide to ask. My approach to popular song is to maintain that it does not illustrate history with a capital H, history which happens elsewhere in muddy trenches or oak-panelled offices. It rather constitutes a series of mass activities which are a part of history, just as much as are other activities such as working or fighting. This is the reason for the title of my paper: "The Uses of British Wartime Song". The question positions popular song as a material activity serving a purpose, and not as an expression of "national spirit", "the soul of the people" or the "zeitgeist", nor as only a particular stage in the artistic development of a musical genre. As we shall see, many of the specific characteristics of the mass activity, and of the structure of the music industry, influence the repertoire: notably the importance of audience singalong, and the absence of a system in the United Kingdom of paying royalties to songwriters. Putting the question of the "uses" of the popular song at the heart of the question reminds us of another significant element: songs can sometimes be used for purposes which were not decided by the creator of the song.I shall begin by presenting briefly the nature of the popular music industry in 1914. I shall then treat some of the myths that have grown up about wartime song, mostly in the absence of large-scale archival work and very much coloured by the idea of the "home front" – the view of all activity in the nation as subordinate to the empire's military objectives. After this, I will deal with the particularly political groups of songs- the enthusiastic war songs in the early months, and the occasional dissenting songs throughout the conflict. Finally, I will focus in on the foremost use of the songs as a kind of collective catharsis of everyday life, showing very strong continuity with pre-war and post-war repertoires and processes.

International audience ; The 250 th anniversary of Cook's travels has been the occasion for the organization of a series of museum exhibitions whose declared aim is to develop a deeper understanding of his role and the world he lived in. Given the changing political atmosphere of the early twenty-first century, where a traditional colonial gaze is ever less acceptable, these exhibitions have declared in different ways their curators' intentions to include voices, agency and opinions from the peoples who were the victims of the aftermath of Cook's scouting activities. This paper looks at three examples and questions the limits both of these intentions and of the practical effects of this new approach. Is "shared history" being built and defended, or are conscious or unconscious (post) colonial priorities still a major aspect of these events?

International audience ; The 250 th anniversary of Cook's travels has been the occasion for the organization of a series of museum exhibitions whose declared aim is to develop a deeper understanding of his role and the world he lived in. Given the changing political atmosphere of the early twenty-first century, where a traditional colonial gaze is ever less acceptable, these exhibitions have declared in different ways their curators' intentions to include voices, agency and opinions from the peoples who were the victims of the aftermath of Cook's scouting activities. This paper looks at three examples and questions the limits both of these intentions and of the practical effects of this new approach. Is "shared history" being built and defended, or are conscious or unconscious (post) colonial priorities still a major aspect of these events?

International audience ; During the First World War, music-hall played an important role in the war effort, organizing on-stage recruitment for the army, concert parties at the Front and free shows for the wounded in hospital. Satire and criticism of how the war was run could also be present.By the Second World War, the official political discourse had changed. Lloyd George's glorious sacrifice had become Churchill's "blood, toil, tears and sweat". The music industry had also changed, through the rise of the gramophone, the dance hall and the American crooner.Popular music is more and more the object of academic study, but the war periods have been neglected. The present article aims at examining the production and the content of popular song in the two world wars. We will try to judge if popular song can at times represent a "voice of the people", and to compare first war songs with second war songs. Finally, we will analyse similarities and differences between "commercial" popular songs and "trench songs". ; Lors de la première guerre mondiale, le music-hall joua un rôle important dans l'effort de guerre. Campagnes de recrutement pendant les spectacles, séances gratuites pour les soldats blessés, tournées de vedettes en France, contribuèrent toutes à l'effort national. Un air de satire et de critique de la gestion de la guerre était également perceptible.Lors de la deuxième guerre, le discours officiel des hommes politiques a évolué. Le sacrifice glorieux de Lloyd George est devenu le « du sang, de la peine, des larmes et de la sueur» de Winston Churchill. L'industrie du divertissement s'est également transformée. Le gramophone est devenu un produit accessible à une grande partie de la population ; la musique populaire consommée en public émane désormais plutôt des dance halls que des théâtres de variété. L'influence américaine est très forte.La chanson populaire et sa production sont de plus en plus étudiées, mais la période des guerres a été peu traitée. Cette contribution vise à examiner la production et le ...

International audience ; During the First World War, music-hall played an important role in the war effort, organizing on-stage recruitment for the army, concert parties at the Front and free shows for the wounded in hospital. Satire and criticism of how the war was run could also be present.By the Second World War, the official political discourse had changed. Lloyd George's glorious sacrifice had become Churchill's "blood, toil, tears and sweat". The music industry had also changed, through the rise of the gramophone, the dance hall and the American crooner.Popular music is more and more the object of academic study, but the war periods have been neglected. The present article aims at examining the production and the content of popular song in the two world wars. We will try to judge if popular song can at times represent a "voice of the people", and to compare first war songs with second war songs. Finally, we will analyse similarities and differences between "commercial" popular songs and "trench songs". ; Lors de la première guerre mondiale, le music-hall joua un rôle important dans l'effort de guerre. Campagnes de recrutement pendant les spectacles, séances gratuites pour les soldats blessés, tournées de vedettes en France, contribuèrent toutes à l'effort national. Un air de satire et de critique de la gestion de la guerre était également perceptible.Lors de la deuxième guerre, le discours officiel des hommes politiques a évolué. Le sacrifice glorieux de Lloyd George est devenu le « du sang, de la peine, des larmes et de la sueur» de Winston Churchill. L'industrie du divertissement s'est également transformée. Le gramophone est devenu un produit accessible à une grande partie de la population ; la musique populaire consommée en public émane désormais plutôt des dance halls que des théâtres de variété. L'influence américaine est très forte.La chanson populaire et sa production sont de plus en plus étudiées, mais la période des guerres a été peu traitée. Cette contribution vise à examiner la production et le contenu des chansons populaires des deux guerres mondiales. Elle posera la question de savoir si ces chansons peuvent parfois représenter une « voix du peuple », elle cherchera à comparer les chansons de la première guerre avec celles de la seconde. Enfin, elle tentera d'analyser similitudes et différences entre la chanson « commerciale » produite en Angleterre et la chanson de soldat inventée par les troupes elles-mêmes.

International audience ; Until recently, historians had worked little on popular song in World War One. When mentioned in general or Home Front histories, it tended to be seen only through the prism of military or civilian morale or fighting spirit. My work and that of my colleagues in the last few years, often based on relatively large corpora of several hundred popular songs in each country, has aimed at looking deeper at what song meant in popular culture and lived experience at this time. Significant differences are found between repertoires and processes in different countries, although everywhere live performance and the selling of sheet music are at the centre of the music business, and the record industry is still marginal. Different levels of urbanization lead to different kinds of industry, with more or less concentration of capital giving rise to huge chains of theatres or relatively independent cabaret venues. Touring artiste systems or resident artiste systems affect the repertoire too; lyricists paid in royalties as in France write differently from lyricists paid a one-off fee as in Britain. A tradition of military service songs in one country affects the wartime repertoire whereas another country with no such tradition reacts differently. Finally, established forms of popular song expression (music hall, vaudeville, café-concert, Fado, Cuple, to name but a few) each open up both possibilities and constraints concerning themes dealt with, types of virtuosity showcased, and the position of the artistes with respect to their audience. In all cases,strong elements of continuity are found with popular song before 1914.This poster will illustrate these variables, giving examples mostly from Britain, France and the US, but also from Germany, Ireland,Spain and Portugal. The role of patriotic song as opposed to other types of song expressing popular worries or fantasies will be evaluated.The question of what form of communication and expression iseffective in popular song of the time will also be explored. ...

International audience ; Until recently, historians had worked little on popular song in World War One. When mentioned in general or Home Front histories, it tended to be seen only through the prism of military or civilian morale or fighting spirit. My work and that of my colleagues in the last few years, often based on relatively large corpora of several hundred popular songs in each country, has aimed at looking deeper at what song meant in popular culture and lived experience at this time. Significant differences are found between repertoires and processes in different countries, although everywhere live performance and the selling of sheet music are at the centre of the music business, and the record industry is still marginal. Different levels of urbanization lead to different kinds of industry, with more or less concentration of capital giving rise to huge chains of theatres or relatively independent cabaret venues. Touring artiste systems or resident artiste systems affect the repertoire too; lyricists paid in royalties as in France write differently from lyricists paid a one-off fee as in Britain. A tradition of military service songs in one country affects the wartime repertoire whereas another country with no such tradition reacts differently. Finally, established forms of popular song expression (music hall, vaudeville, café-concert, Fado, Cuple, to name but a few) each open up both possibilities and constraints concerning themes dealt with, types of virtuosity showcased, and the position of the artistes with respect to their audience. In all cases,strong elements of continuity are found with popular song before 1914.This poster will illustrate these variables, giving examples mostly from Britain, France and the US, but also from Germany, Ireland,Spain and Portugal. The role of patriotic song as opposed to other types of song expressing popular worries or fantasies will be evaluated.The question of what form of communication and expression iseffective in popular song of the time will also be explored. The roles of singalong choruses or of theatricality, for example, give clues to what positions audiences are placed in and why. The expression of popular and elite priorities will be examined in the hope of better understanding the psychological utility of entertainment activities in a situation of total war.

Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Pas de Modification 4.0 International. ; International audience ; Left wing rock1 musicians and fans tend to believe that rock music changes the world; left wing journalists believe that the media change the world, and left-wing teachers believe it is education. So far, so human. But is it possible to analyse the political effects of rock processes and products? This article will explore this topic with reference to one rock group, the Tom Robinson Band, which came to promine nce briefly in the late nineteen seventies. 2 The Tom Robinson Band proposed fast-paced mainstre am rock music, not in any real sense "underground" but mixed it with very clear stances, both in lyrics and in activism, on political issues such as racism, abort ion rights, unemployment, and fables about evolutionary insurrections. They released two albums - Power in the Darkness and TRB Two, before disbanding to move onto other projects. In this analysis, I will be looking not only at the "message" conveyed in the repertoire, if indeed such vocabulary is appropriate, but also at the experiences proposed by the song. ; Cet article vise à poser la question "Que peut faire le rock politique ?" à travers une étude de cas. Il s'agit du groupe the Tom Robinson Band, actif entre 1977 et 1979, au moment où le punk rock déferlait sur l'Angleterre et que Rock against Racism mettait en pratique une approche originale aux rapports entre création artistique et militantisme politique. Ni contre-culture marginale, ni Charity Rock produit dans les stades, le répertoire et les méthodes de Tom Robinson valent ledétour. Notre approche met le côté participatif de la musique populaire au centre de l'enquête, afin d'explorer les effets éventuels du rock politique sur l'individu.

Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Pas de Modification 4.0 International. ; International audience ; Commentators are unanimous about the important role of the UK in the 1970s in the history of popular music. Black Sabbath, Led Zeppelin, David Bowie , the Sex Pistols and the Police : perhaps no other country produced as many influential artistes in this decade. Yet there has generally been a separation between « serious » historical analyse s of the decade's social history and examinations of its musical legacy. This article attempts to look at the music in connection with the history of British society. What was changing about people's relationship to music ? What were artistes proposing to consumers, as entertainment, as philosophical or political discourse or as aesthetic rebellion ? ; Les commentateurs sont unanimes concernant le rôle important qu'a joué le Royaume-Uni des années 1970 dans l'histoire de la musique populaire. Black Sabbath, Led Zeppelin, David Bowie, les Sex Pistols, Police : quel autre pays a produit autant d'artistes influentes durant cette décennie ? Pourtant il y a souvent eu séparation entre les analyses « sérieuses » de l'histoire de la société et les examens de la musique qu'elle nous a léguée. Cet article est une tentative de voir la musique dans le contexte de l'histoire sociale. Quels changements étaient en cours concernant le rôle de la musique dans la vie quotidienne ? Que proposaient les artistes aux consommateurs, comme divertissement, comme discours philosophique ou politique, comme rébellion esthétique ?

International audience ; The anonymous songs sung by British soldiers during the Great War have frequently been revisited over the last eighty years, and often presented as the true voice of the Tommy. Conservative newspapers have recently republished collections, while, for the centenary, theatre groups have re-staged the anti-militarist musical comedy Oh What a Lovely War in which the soldier songs play a key role. The songs are sometimes accompanied by an "antimilitarist" discourse and sometimes by a "patriotic" one. This article explores how this cultural object comes to be so malleable that, a hundred years later, the songs can be sung by radical punk rock groups as well as by Military Wives' choirs. ; Les chansons anonymes des soldats britanniques de la Première Guerre ont souvent été utilisées dans la présentation de cette guerre. Leur statut de production populaire et anonyme garantirait l'authenticité de la mémoire communiquée.Depuis au moins 80 ans, ces chansons ont été remémorées, parfois accompagnées d'un discours « antimilitariste », parfois par un discours « patriotique ». Notre chapitre vise à examiner comment et pourquoi les chansons de soldats ont pu devenir un objet historique malléable, utilisé jusqu'à nos jours à la fois par des groupes de rock contestataire et des chorales de femmes de militaires.

International audience ; The anonymous songs sung by British soldiers during the Great War have frequently been revisited over the last eighty years, and often presented as the true voice of the Tommy. Conservative newspapers have recently republished collections, while, for the centenary, theatre groups have re-staged the anti-militarist musical comedy Oh What a Lovely War in which the soldier songs play a key role. The songs are sometimes accompanied by an "antimilitarist" discourse and sometimes by a "patriotic" one. This article explores how this cultural object comes to be so malleable that, a hundred years later, the songs can be sung by radical punk rock groups as well as by Military Wives' choirs. ; Les chansons anonymes des soldats britanniques de la Première Guerre ont souvent été utilisées dans la présentation de cette guerre. Leur statut de production populaire et anonyme garantirait l'authenticité de la mémoire communiquée.Depuis au moins 80 ans, ces chansons ont été remémorées, parfois accompagnées d'un discours « antimilitariste », parfois par un discours « patriotique ». Notre chapitre vise à examiner comment et pourquoi les chansons de soldats ont pu devenir un objet historique malléable, utilisé jusqu'à nos jours à la fois par des groupes de rock contestataire et des chorales de femmes de militaires.

International audience Left wing rock1 musicians and fans tend to believe that rock music changes the world; left wing journalists believe that the media change the world, and left-wing teachers believe it is education. So far, so human. But is it possible to analyse the political effects of rock processes and products? This article will explore this topic with reference to one rock group, the Tom Robinson Band, which came to promine nce briefly in the late nineteen seventies. 2 The Tom Robinson Band proposed fast-paced mainstre am rock music, not in any real sense "underground" but mixed it with very clear stances, both in lyrics and in activism, on political issues such as racism, abort ion rights, unemployment, and fables about evolutionary insurrections. They released two albums - Power in the Darkness and TRB Two, before disbanding to move onto other projects. In this analysis, I will be looking not only at the "message" conveyed in the repertoire, if indeed such vocabulary is appropriate, but also at the experiences proposed by the song. ; Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Pas de Modification 4.0 International. Cet article vise à poser la question "Que peut faire le rock politique ?" à travers une étude de cas. Il s'agit du groupe the Tom Robinson Band, actif entre 1977 et 1979, au moment où le punk rock déferlait sur l'Angleterre et que Rock against Racism mettait en pratique une approche originale aux rapports entre création artistique et militantisme politique. Ni contre-culture marginale, ni Charity Rock produit dans les stades, le répertoire et les méthodes de Tom Robinson valent ledétour. Notre approche met le côté participatif de la musique populaire au centre de l'enquête, afin d'explorer les effets éventuels du rock politique sur l'individu.

Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Pas de Modification 4.0 International. ; International audience ; Commentators are unanimous about the important role of the UK in the 1970s in the history of popular music. Black Sabbath, Led Zeppelin, David Bowie , the Sex Pistols and the Police : perhaps no other country produced as many influential artistes in this decade. Yet there has generally been a separation between « serious » historical analyse s of the decade's social history and examinations of its musical legacy. This article attempts to look at the music in connection with the history of British society. What was changing about people's relationship to music ? What were artistes proposing to consumers, as entertainment, as philosophical or political discourse or as aesthetic rebellion ? ; Les commentateurs sont unanimes concernant le rôle important qu'a joué le Royaume-Uni des années 1970 dans l'histoire de la musique populaire. Black Sabbath, Led Zeppelin, David Bowie, les Sex Pistols, Police : quel autre pays a produit autant d'artistes influentes durant cette décennie ? Pourtant il y a souvent eu séparation entre les analyses « sérieuses » de l'histoire de la société et les examens de la musique qu'elle nous a léguée. Cet article est une tentative de voir la musique dans le contexte de l'histoire sociale. Quels changements étaient en cours concernant le rôle de la musique dans la vie quotidienne ? Que proposaient les artistes aux consommateurs, comme divertissement, comme discours philosophique ou politique, comme rébellion esthétique ?

Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Pas de Modification 4.0 International. ; International audience ; Left wing rock1 musicians and fans tend to believe that rock music changes the world; left wing journalists believe that the media change the world, and left-wing teachers believe it is education. So far, so human. But is it possible to analyse the political effects of rock processes and products? This article will explore this topic with reference to one rock group, the Tom Robinson Band, which came to promine nce briefly in the late nineteen seventies. 2 The Tom Robinson Band proposed fast-paced mainstre am rock music, not in any real sense "underground" but mixed it with very clear stances, both in lyrics and in activism, on political issues such as racism, abort ion rights, unemployment, and fables about evolutionary insurrections. They released two albums - Power in the Darkness and TRB Two, before disbanding to move onto other projects. In this analysis, I will be looking not only at the "message" conveyed in the repertoire, if indeed such vocabulary is appropriate, but also at the experiences proposed by the song. ; Cet article vise à poser la question "Que peut faire le rock politique ?" à travers une étude de cas. Il s'agit du groupe the Tom Robinson Band, actif entre 1977 et 1979, au moment où le punk rock déferlait sur l'Angleterre et que Rock against Racism mettait en pratique une approche originale aux rapports entre création artistique et militantisme politique. Ni contre-culture marginale, ni Charity Rock produit dans les stades, le répertoire et les méthodes de Tom Robinson valent ledétour. Notre approche met le côté participatif de la musique populaire au centre de l'enquête, afin d'explorer les effets éventuels du rock politique sur l'individu.