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Patriotic songs
| Ìîðñêîé ñëîâàðü |
In the late 18th and early 19th centuries, the rise of industrialized warfare with large citizen involvement gave rise to patriotic war songs, of which the british “rule britannia” and french “marseillaise” were prototypical. singing them was supposed to improve martial ardor, raise the spirits of troops and civilians, and encourage national chauvinism. to some extent this was a throwback to the war chants of primitive societies which served not only to intimidate enemies, but also to fortify morale. • british songs: in the days of julius caesar, britannia was a place (england) rather than a person. then emperor hadrian issued a coin with a female figure, resembling the goddess minerva but identified as britannia and wearing a centurion’s helmet, wrapped in a toga, carrying spear and shield. in typical roman fashion this young woman was almost immediately identified as a goddess in her own right. during the elizabethan renaissance, she was considered the personification of england and, after union with scotland, was used a rallying image for all britons. as british sea power and influence began a gradual resurgence, the national goddess became an increasingly important naval symbol. with her spear replaced by neptune’s trident she was the centerpiece of a london pageant in 1602, appeared on coinage in 1672, and was the subject of a poem by james thompson entitled “rule britannia” and written around 1725: when britain first at heaven’s command arose from out the azure main; this was the charter of the land and guardian angels sang this strain; rule britannia! britannia rule the waves britons never, never, never shall be slaves! at that time, the royal navy was tactically ahead of all its rivals, but had no real claim to “rule the passenger 234 waves.” both dutch and french had large navies with arguably better ships, while the spanish armada was still a significant factor. british maritime hegemony was almost in sight, but the poem was really intended to be a nostalgic remembrance of the ninth century when alfred the great (known as “father of the english navy”) had humbled the danes (see saxon seapower). thompson’s poem was set to music by thomas augustine arne in 1740, just at the beginning of the royal navy’s rise to world domination. throughout the 19th century and into the 20th “rule britannia” was a chauvinistic musical celebration of britain’s overwhelming naval power. even after the british fleet has been reduced to a shadow of its former self the song remains, unofficially, an alternative national anthem; sharing that status with arthur benson’s poem, set to sir edward elgar’s music “pomp and circumstance” for use as a coronation ode in 1902: land of hope and glory, mother of the free, how shall we extol thee, who are born of thee? wider still and wider shall thy bounds be set; god who made thee mighty, make thee mightier yet. • the united states has no fewer than five patriotic songs with anthem-like status. unlike “rule britannia,” none has direct maritime connections. for most of the 19th century, “hail columbia” was the unofficial national hymn. originally titled “the president’s march,” it was composed by philip phile in 1789 for the inauguration of george washington. lyrics by joseph hopkinson were added in 1798. hail columbia, happy land! hail, ye heroes, heav’n-born band, who fought and bled in freedom’s cause, who fought and bled in freedom’s cause, and when the storm of war was gone enjoy’d the peace your valor won. firm and united let us be, rallying round our liberty, as a band of brothers joined, peace and safety we shall find. another anthem, “america the beautiful,” was written in 1893 by writer-poet katherine lee bates, an instructor at wellesley college, massachusetts, and set to music by samuel ward in 1910. it too won national support. o beautiful for spacious skies, for amber waves of grain. for purple mountain majesties above the fruited plain. america! america! god shed his grace on thee, and crown thy good with brotherhood from sea to shining sea. the melody of the third patriotic song, was originally the german “kaiserhymne,” which has also served as the national anthems of denmark, russia, sweden, and switzerland, and is still that of the united kingdom. the lyric was written in 1831 or ’32 by the rev. samuel francis smith of boston’s park street church: my country, ’tis of thee, sweet land of liberty, of thee i sing; land where my fathers died, land of the pilgrims’ pride, from every mountainside, let freedom ring! during the late 19th and early 20th centuries these three hymns competed for national recognition with a fourth written in 1814 by francis scott key and set to the tune of a popular british drinking song by john stafford smith. o! say can you see by the dawn’s early light what so proudly we hailed at the twilight’s last gleaming? whose broad stripes and bright stars through the perilous fight, o’er the ramparts we watched were so gallantly streaming? and the rockets’ red glare, the bombs bursting in air, gave proof through the night that our flag was still there. oh, say does that star-spangled banner yet wave o’er the land of the free and the home of the brave? in 1889, “the star spangled banner” was recognized for official use by the united states navy when visiting foreign ports, but the nation itself remained without a hymn of national praise. meanwhile, a fifth patriotic song gained national recognition. it was written in 1918 by russian-born composer israel baline under his adopted american name of irving berlin. its key lyrics are: god bless america land that i love stand beside her and guide her thru the night with light from above from the mountains, to the prairies, to the oceans bright with foam god bless america my home sweet home it was not until march 1931 that a congressional resolution was signed by president herbert hoover, making “the star spangled banner” the undisputed united states national anthem.
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Patriotic, àíãëèéñêèé
Patriotically correct, àíãëèéñêèé
Song, àíãëèéñêèé
The call of soundings by the leadsman in the channels. songs are also used to aid the men in keeping time when pulling on a rope, where a fife is not available. they are very common in merchant ships. the whalers have an improvised song when cutting docks in the ice in arctic seas.
Song, àíãëèéñêèé
Song credit, àíãëèéñêèé
Credits used to download songs with a xbox music pass subscription. sony/philips digital interface (n)
Song of songs, àíãëèéñêèé
Song of the seabees, àíãëèéñêèé
Usn construction battalions have their own song, written in 1943 with words by sam m. lewis to music by peter de rose. the original wartime text made specific reference to pearl harbor; two verses of an updated and less specific version are: we’re seabees of the navy we can build and we can fight we’ll pave the way to victory and guard it day and night no matter what our mission we’ll uphold our proud tradition we’re seabees of the navy bees of the seven seas.
Song pointer message, àíãëèéñêèé
The midi message that specifies, to a 16th note, how far into a piece you are. this permits a master device to send a song position pointer to a slave device, such as a drum machine, to begin playing at any point in the song
Song position pointer, àíãëèéñêèé
A message sent by a master device that allows slaves to begin at any point within a sequence or song.
Songaila, àíãëèéñêèé
Songbirds, àíãëèéñêèé
Songfest, àíãëèéñêèé
Íåôîðìàëüíàÿ âñòðå÷à â êîìïàíèè äëÿ õîðîâîãî ïåíèÿ sor – spe
Songhai, àíãëèéñêèé
A west african empire that succeeded mali and controlled trade from the 1400s to 1591.
Songk, àíãëèéñêèé
Songka, àíãëèéñêèé
P. õîíãõà (âüåòíàì è êèòàé)
Songofthedesert, àíãëèéñêèé
Identified, àíãëèéñêèé
Immediately, àíãëèéñêèé
Íåìåäëåííî; íåïîñðåäñòâåííî
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Patrol craft, àíãëèéñêèé
See motor launch, motor gunboat, motor torpedo boat, patrol torpedo boat, submarine chaser, swift boat, and cutter.
Patrimonial sea, àíãëèéñêèé
This term, which originated with the santo domingo conference of 1972, is frequently used by caribbean countries to reference exclusive economic and/or fishing zones, but is seldom used elsewhere.
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