This article surveys writing about military music in Australia and internationally, using an analytical framework based on the work of historian Graeme Davison. It begins with an examination of ethical and moral conundrums surrounding the use of music as a tool of war, and as an agent in citizenship and nation building. It concludes that most military music historiography ignores ideological questions: military music historiography is usually antiquarian, fact-driven narrative which serves society's dominant interests. The paper identifies patterns in twentiethcentury military music historiography, and considers implications for humanities scholars, especially those working in the 'new musicology'.
|Number of pages||21|
|Publication status||Published - Jan 2002|