Battle for music : music and British wartime propaganda 1935-1945
Bibliographic record
Abstract
The use of classical music as a tool of propaganda in Britain during the War can be seen to have been\nan effective deployment both of the German masters and of a new spirit of England in the\nfurtherance of British values and its point of view. Several distinctions were made between various\nforms of propaganda and institutions of government played complementary roles during the War.\nPropaganda took on various guises, including the need to boost morale on the Home Front in live\nperformances. At the outset of the War, orchestras were under threat, with the experience of the\nLondon Philharmonic exemplifying the difficulties involved in maintaining a professional standard of\nperformance. The activities of bodies such as the Council for the Encouragement of Music and the\nArts played a role in encouraging music, as did the British Council’s Music Advisory Committee,\nwhich co-operated with the BBC and the government, activities including the commissioning of new\nmusic. The BBC’s policies towards music broadcasting were arrived at in reaction to public demand\nrather than from an ideological basis and were developed through the increasing monitoring of\nGerman broadcasts and a growing understanding of what was required for both home and overseas\ntransmission. Beethoven’s Fifth Symphony became an important part of the Victory campaign and\nthere was even an attempt at reviving the Handel Cult of the Nineteenth Century. German music\nwas also used in feature film but pre-eminent composers such as William Walton and Ralph Vaughan\nWilliams contributed to the War effort by writing film music too. The outstanding example is\nVaughan Williams’ music for Powell and Pressburger’s Ministry of Information sponsored 49th\nParallel, in which the relationship between music and politics is made in a reference to Thomas\nMann’s The Magic Mountain. Vaughan Williams’ non-film output included the greatest British\norchestral work to have come out of the War, his Fifth Symphony; a work that encapsulated all the\nvalues that the institutions of public life sought to promote.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.009 | 0.006 |
| Scholarly communication | 0.005 | 0.001 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.021 | 0.002 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".