Music In The Vietnam War

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Music has been an integral part of warfare and the soldier's life since the dawn of history. Even the instruments on which it is played have themselves acquired great symbolic power — a regiment's drums are second only to its colors as an emblem of honor and tradition. In the 18th century, the act of enlisting was described as 'following the drum. Even today, those ancient symbols continue to be evoked by titles such as Dave R. Palmer's Summons of the Trumpet, a study of strategy in the Vietnam War. The function of music in war has always been twofold: as a means of communication and as a psychological weapon. Among the oldest references to the latter role appears in Chapter 6 of the Old Testament's book of Joshua, with an exceptionally detailed…show more content…
Cavalry trumpets, Machiavelli suggested, ought to have a distinctly different timbre, so that their calls would not be mistaken for those pertaining to the infantry. Drums and flutes, he averred, were most useful as an adjunct to discipline on the march and during infantry maneuvers on the battlefield itself. One of his contemporaries commented at that time, Such a custom is still observed in our time, so that one of two fighting forces does not assault the enemy unless urged by the sound of trumpets and…show more content…
Marches were still effective in all their customary roles, and the popular song again became the vehicle for knee-jerk sentiments. Most historians of popular culture agree that World War II's pop songs were curiously inferior to those of World War I — few outlived their brief moment, and most have become dated to the point of embarrassment — but World War II was also the first time that classical music was mobilized as a weapon of war. The Allies co-opted a prize from the Axis by adopting as their trademark the opening notes of Ludwig van Beethoven's Symphony No. 5 — three Gs and an E-flat, corresponding to three dots and one dash in Morse code — to signify V for Victory. That musical signature served as a recurring leitmotif in Allied films, concerts and countless other forms of propaganda. How it must have galled Josef Goebbels not to have thought of it
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