Over Here, Over There

Brief Summary

Over Here, Over There by William Brooks presents a scholarly exploration of the complex interplay between music and national sentiment during the Great War. This book dissects how music from various composers and performers across allied nations, namely France, Great Britain, Canada, and the United States, was reflective of both unified wartime efforts and divergent national perspectives. By examining aspects such as composition, performance, publication, recording, censorship, and policy, the book unveils the multifaceted role of music in both uniting and dividing public opinion during the period. The study is structured to first offer case studies focusing on individual contributions, followed by an analysis of community-level impacts, ranging from localized to transnational scales.

Main Themes and Topics

The primary theme of Over Here, Over There is the dual role of music as a vehicle for expressing collective emotions and as a means of highlighting national differences during the Great War. The book delves into themes of patriotism, grief, and anxiety, all prevalent emotions during wartime. It also examines the intricacies of international relationships through the lens of music while addressing how these dynamics played out on both sides of the Atlantic. From personal narratives to mass entertainment and the ominous backdrop of events like the sinking of the Lusitania and the influenza pandemic, the essays collectively illustrate how music was intricately tied to historical and socio-political contexts.

Writing Style and Tone

Brooks' compilation maintains an academic and analytical tone, consistent with its scholarly focus. The writing is dense with historical detail and musicological analysis, making it an informative read for those interested in the intersection of music, history, and cultural studies. Each contributor brings their expertise to the table, ensuring a depth of insight into various facets of the war's musical landscape. The editors' decision to structure the book into sections on individuals and communities aids in the organization, allowing readers to digest complex information in an accessible manner.

Criticism

One aspect of Over Here, Over There that may be challenging for some readers is its heavy reliance on musicological and historical jargon, which may not be easily accessible to a general audience. While the detailed analysis is a strength for scholars and those with a background in music history, casual readers might find certain sections dense and difficult to navigate without prior knowledge of the era’s cultural and historical nuances.