Arnold Perris
Biographic Data
| ID | 110699 |
|---|---|
| NAME | Arnold Perris |
| GIVEN NAMES | Arnold |
| FAMILY NAME | Perris |
| SIGNATURE | PERRIS A |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 25 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1971 |
| LATEST PUBLICATION YEAR | 1988 |
| H-INDEX | 3 |
Music as Propaganda
Perris examines the past and present uses of music as a means for political and social change, overt or disguised. He presents evidence of music as propaganda ranging from Broadway to the official compositions of the totalitarian regimes of Nazi Germany, Soviet Russia, and Communist China, as well as from concert halls to the protest movements of the 1960s. Familiar classics are analyzed, as well as operas of nineteenth-century nationalist compos…
Feeding the Hungry Ghosts
Comparaison de la musique liturgique bouddhiste actuelle a Taiwan (Taipei) et en Chine : influences occidentales d'un cote, influences politiques de l'autre
Music as Propaganda
T he political control of music and other arts for propaganda by totalitarian governments has frequently provoked censure of observers in Western democracies.l The control of art for official information goes against grain of creative spirit, we suppose. Can an artistic mind function fully if bound to strictures of a political ideology? Our judgment, colored by nineteenth-century attitude of artist's will as paramount and inviolable, is that extr…
Chinese Wayang
The Rebirth of the Javanese angklung
bout 1935 the Supervisor of Music for the Pasadena, California Public Schools, Lillian Mohr Fox, came across an old-fashioned autoharp. This psaltery-for-everyone was a late Nineteenth Century German invention which became popular in the United States as a musical toy. Mrs. Fox recalled playing an as a girl. It immediately struck her that the autoharp, with its chord selector-buttons, was an instrument which her music classes could learn to play …
Music as Propaganda
T he political control of music and other arts for propaganda by totalitarian governments has frequently provoked censure of observers in Western democracies.l The control of art for official information goes against grain of creative spirit, we suppose. Can an artistic mind function fully if bound to strictures of a political ideology? Our judgment, colored by nineteenth-century attitude of artist's will as paramount and inviolable, is that extr…
The Rebirth of the Javanese angklung
bout 1935 the Supervisor of Music for the Pasadena, California Public Schools, Lillian Mohr Fox, came across an old-fashioned autoharp. This psaltery-for-everyone was a late Nineteenth Century German invention which became popular in the United States as a musical toy. Mrs. Fox recalled playing an as a girl. It immediately struck her that the autoharp, with its chord selector-buttons, was an instrument which her music classes could learn to play …
Music as Propaganda
Perris examines the past and present uses of music as a means for political and social change, overt or disguised. He presents evidence of music as propaganda ranging from Broadway to the official compositions of the totalitarian regimes of Nazi Germany, Soviet Russia, and Communist China, as well as from concert halls to the protest movements of the 1960s. Familiar classics are analyzed, as well as operas of nineteenth-century nationalist compos…
Feeding the Hungry Ghosts
Comparaison de la musique liturgique bouddhiste actuelle a Taiwan (Taipei) et en Chine : influences occidentales d'un cote, influences politiques de l'autre
The Rebirth of the Javanese angklung
bout 1935 the Supervisor of Music for the Pasadena, California Public Schools, Lillian Mohr Fox, came across an old-fashioned autoharp. This psaltery-for-everyone was a late Nineteenth Century German invention which became popular in the United States as a musical toy. Mrs. Fox recalled playing an as a girl. It immediately struck her that the autoharp, with its chord selector-buttons, was an instrument which her music classes could learn to play …
Chinese Wayang
Music as Propaganda
T he political control of music and other arts for propaganda by totalitarian governments has frequently provoked censure of observers in Western democracies.l The control of art for official information goes against grain of creative spirit, we suppose. Can an artistic mind function fully if bound to strictures of a political ideology? Our judgment, colored by nineteenth-century attitude of artist's will as paramount and inviolable, is that extr…
Feeding the Hungry Ghosts
Comparaison de la musique liturgique bouddhiste actuelle a Taiwan (Taipei) et en Chine : influences occidentales d'un cote, influences politiques de l'autre
Music as Propaganda
Perris examines the past and present uses of music as a means for political and social change, overt or disguised. He presents evidence of music as propaganda ranging from Broadway to the official compositions of the totalitarian regimes of Nazi Germany, Soviet Russia, and Communist China, as well as from concert halls to the protest movements of the 1960s. Familiar classics are analyzed, as well as operas of nineteenth-century nationalist compos…
Art (5 works) · Aesthetics (2 works) · Chinese history and philosophy (2 works) · History (2 works) · Literature (2 works) · Philosophy (2 works) · Visual arts (2 works) · Advertising (1 work) · Ancient history (1 work) · Archaeology (1 work)