Esteban Buch is directeur d’études (full professor) at the Ecole des Hautes Etudes en Sciences Sociales (EHESS) in Paris, France. A specialist of the relationships between music and politics in the twentieth century, he is the author of O juremos con gloria morir (2013), L’Affaire Bomarzo (2011), Le cas Schoenberg (2006), La Neuvième de Beethoven (1999; English tr. 2003) and Histoire d’un secret (1994). He has also co-edited Du politique en analyse musicale (2014), Tangos cultos (2012), Réévaluer l’art moderne et les avant-gardes (2010), and La Grande guerre des musiciens (2009). Igor Contreras Zubillaga is a PhD candidate at the Ecole des Hautes Etudes en Sciences Sociales of Paris, France, with a thesis on the Spanish musical avant-garde during Franco's dictatorship. He is co-editor of the volumes Le son des rouages: Representations des rapports homme-machine dans la musique du 20e siècle (2011) and A l'avant-garde! Art et politique dans les années 1960 et 1970 (2013). Manuel Deniz Silva is Research Fellow at the FCSH (Universidade Nova de Lisboa, Portugal), where he coordinates the Music and Media thematic strand of the INET-md (Music and Dance Research Centre). He is co-editor of the Portuguese Journal of Musicology and editor of Kinethophone - Journal of Music, Sound and Moving Image.

• Esteban Buch, Igor Contreras Zubillaga and Manuel Deniz Silva – ‘State Music’ and Dictatorship: an IntroductionPart 1: Music for the People1. Yannick Simon Music and the Vichy Regime through Jeune France’s Three Joan-of-Arc Productions (1941)2. Analía Chernavsky The ‘Dança da Terra' Issue’ (1943): Heitor Villa-Lobos and the Vargas Dictatorship3. Hon-lun Yang Unravelling The East Is Red (1964): Socialist Music and Politics in the People’s Republic of ChinaPart 2: Composing for the Dictator4. Katherine L. FitzGibbon (Lewis&Clark College, Portland) – Gottfried Müller’s Deutsches Heldenrequiem (1934): Nazi Ideology Cloaked in Historic Style5. Justine Comtois Alfredo Casella’s Il deserto tentato (1937): an Opera Dedicated to Benito Mussolini6. Marina Frolova-Walker A Birthday Present for Stalin: Shostakovich’s Song of the Forests (1949)7. Andrzej Tuchowski ‘State music’ in Poland under the Stalinist Regime: Alfred Gradstein’s Cantata A Word about Stalin (1951)Part 3: State Commemorations8. Manuel Deniz Silva Salazar’s dictatorship and the paradoxes of State music: Luís Freitas Branco’s ill-fated Solemn Overture 1640 (1939)9. Igor Contreras Zubillaga El Concierto de la Paz (1964): Three Commissions to Celebrate 25 Years of Francoism10. Esteban Buch Conquistadores, Indians, and Argentine Generals: Iubilum op. 51, a Commission to Alberto Ginastera (1980).Index

'Ten fascinating narratives are presented here about the function of state music in a wider range of twentieth-century dictatorships. An international roster of distinguished authors ensures the most detailed study of this subject thus far. This unique volume clarifies how music was used to present the public face of state sanctioned propaganda.' - Patricia Hall, University of Michigan, USA'These essays, surveying musical works that span five decades and three continents, shed light on creations generally overlooked by virtue of their being "tainted" because they were commissioned by dictatorships. Instead of shunning these works, the essays explore the complex interactions of the state, the composers, and the public and offer new paths toward dissecting notions of creative autonomy in the twentieth century.' - Pamela Potter, University of Wisconsin-Madison, USA"Composing for the State [offers] ten case studies grounded in original research on the subject of music and twentieth-century dictatorships. Geographically, the scope is also wider, encompassing work not just on Europe but also on Latin America and China. And yet, its central question is not too far removed from Riley and Smith’s: How do we understand music commissioned by the state when that state is a dictatorship? In their introduction, the editors usefully suggest that these compositions should not simply be written off as propaganda. Instead, we should explore them, their genesis, and their reception both to enrich our comprehension of cultural life and net-works under dictatorships and, more broadly, to investigate further music’s role in the construction and perseverance of such political regimes." - Anthony J. Steinholff, Université du Québec à Montréal, Canada

Esteban Buch is directeur d’études (full professor) at the Ecole des Hautes Etudes en Sciences Sociales (EHESS) in Paris, France. A specialist of the relationships between music and politics in the twentieth century, he is the author of O juremos con gloria morir (2013), L’Affaire Bomarzo (2011), Le cas Schoenberg (2006), La Neuvième de Beethoven (1999; English tr. 2003) and Histoire d’un secret (1994). He has also co-edited Du politique en analyse musicale (2014), Tangos cultos (2012), Réévaluer l’art moderne et les avant-gardes (2010), and La Grande guerre des musiciens (2009). Igor Contreras Zubillaga is a PhD candidate at the Ecole des Hautes Etudes en Sciences Sociales of Paris, France, with a thesis on the Spanish musical avant-garde during Franco's dictatorship. He is co-editor of the volumes Le son des rouages: Representations des rapports homme-machine dans la musique du 20e siècle (2011) and A l'avant-garde! Art et politique dans les années 1960 et 1970 (2013). Manuel Deniz Silva is Research Fellow at the FCSH (Universidade Nova de Lisboa, Portugal), where he coordinates the Music and Media thematic strand of the INET-md (Music and Dance Research Centre). He is co-editor of the Portuguese Journal of Musicology and editor of Kinethophone - Journal of Music, Sound and Moving Image.

• Esteban Buch, Igor Contreras Zubillaga and Manuel Deniz Silva – ‘State Music’ and Dictatorship: an IntroductionPart 1: Music for the People1. Yannick Simon Music and the Vichy Regime through Jeune France’s Three Joan-of-Arc Productions (1941)2. Analía Chernavsky The ‘Dança da Terra' Issue’ (1943): Heitor Villa-Lobos and the Vargas Dictatorship3. Hon-lun Yang Unravelling The East Is Red (1964): Socialist Music and Politics in the People’s Republic of ChinaPart 2: Composing for the Dictator4. Katherine L. FitzGibbon (Lewis&Clark College, Portland) – Gottfried Müller’s Deutsches Heldenrequiem (1934): Nazi Ideology Cloaked in Historic Style5. Justine Comtois Alfredo Casella’s Il deserto tentato (1937): an Opera Dedicated to Benito Mussolini6. Marina Frolova-Walker A Birthday Present for Stalin: Shostakovich’s Song of the Forests (1949)7. Andrzej Tuchowski ‘State music’ in Poland under the Stalinist Regime: Alfred Gradstein’s Cantata A Word about Stalin (1951)Part 3: State Commemorations8. Manuel Deniz Silva Salazar’s dictatorship and the paradoxes of State music: Luís Freitas Branco’s ill-fated Solemn Overture 1640 (1939)9. Igor Contreras Zubillaga El Concierto de la Paz (1964): Three Commissions to Celebrate 25 Years of Francoism10. Esteban Buch Conquistadores, Indians, and Argentine Generals: Iubilum op. 51, a Commission to Alberto Ginastera (1980).Index

'Ten fascinating narratives are presented here about the function of state music in a wider range of twentieth-century dictatorships. An international roster of distinguished authors ensures the most detailed study of this subject thus far. This unique volume clarifies how music was used to present the public face of state sanctioned propaganda.' - Patricia Hall, University of Michigan, USA'These essays, surveying musical works that span five decades and three continents, shed light on creations generally overlooked by virtue of their being "tainted" because they were commissioned by dictatorships. Instead of shunning these works, the essays explore the complex interactions of the state, the composers, and the public and offer new paths toward dissecting notions of creative autonomy in the twentieth century.' - Pamela Potter, University of Wisconsin-Madison, USA"Composing for the State [offers] ten case studies grounded in original research on the subject of music and twentieth-century dictatorships. Geographically, the scope is also wider, encompassing work not just on Europe but also on Latin America and China. And yet, its central question is not too far removed from Riley and Smith’s: How do we understand music commissioned by the state when that state is a dictatorship? In their introduction, the editors usefully suggest that these compositions should not simply be written off as propaganda. Instead, we should explore them, their genesis, and their reception both to enrich our comprehension of cultural life and net-works under dictatorships and, more broadly, to investigate further music’s role in the construction and perseverance of such political regimes." - Anthony J. Steinholff, Université du Québec à Montréal, Canada

Esteban Buch is directeur d’études (full professor) at the Ecole des Hautes Etudes en Sciences Sociales (EHESS) in Paris, France. A specialist of the relationships between music and politics in the twentieth century, he is the author of O juremos con gloria morir (2013), L’Affaire Bomarzo (2011), Le cas Schoenberg (2006), La Neuvième de Beethoven (1999; English tr. 2003) and Histoire d’un secret (1994). He has also co-edited Du politique en analyse musicale (2014), Tangos cultos (2012), Réévaluer l’art moderne et les avant-gardes (2010), and La Grande guerre des musiciens (2009). Igor Contreras Zubillaga is a PhD candidate at the Ecole des Hautes Etudes en Sciences Sociales of Paris, France, with a thesis on the Spanish musical avant-garde during Franco's dictatorship. He is co-editor of the volumes Le son des rouages: Representations des rapports homme-machine dans la musique du 20e siècle (2011) and A l'avant-garde! Art et politique dans les années 1960 et 1970 (2013). Manuel Deniz Silva is Research Fellow at the FCSH (Universidade Nova de Lisboa, Portugal), where he coordinates the Music and Media thematic strand of the INET-md (Music and Dance Research Centre). He is co-editor of the Portuguese Journal of Musicology and editor of Kinethophone - Journal of Music, Sound and Moving Image.

• Esteban Buch, Igor Contreras Zubillaga and Manuel Deniz Silva – ‘State Music’ and Dictatorship: an IntroductionPart 1: Music for the People1. Yannick Simon Music and the Vichy Regime through Jeune France’s Three Joan-of-Arc Productions (1941)2. Analía Chernavsky The ‘Dança da Terra' Issue’ (1943): Heitor Villa-Lobos and the Vargas Dictatorship3. Hon-lun Yang Unravelling The East Is Red (1964): Socialist Music and Politics in the People’s Republic of ChinaPart 2: Composing for the Dictator4. Katherine L. FitzGibbon (Lewis&Clark College, Portland) – Gottfried Müller’s Deutsches Heldenrequiem (1934): Nazi Ideology Cloaked in Historic Style5. Justine Comtois Alfredo Casella’s Il deserto tentato (1937): an Opera Dedicated to Benito Mussolini6. Marina Frolova-Walker A Birthday Present for Stalin: Shostakovich’s Song of the Forests (1949)7. Andrzej Tuchowski ‘State music’ in Poland under the Stalinist Regime: Alfred Gradstein’s Cantata A Word about Stalin (1951)Part 3: State Commemorations8. Manuel Deniz Silva Salazar’s dictatorship and the paradoxes of State music: Luís Freitas Branco’s ill-fated Solemn Overture 1640 (1939)9. Igor Contreras Zubillaga El Concierto de la Paz (1964): Three Commissions to Celebrate 25 Years of Francoism10. Esteban Buch Conquistadores, Indians, and Argentine Generals: Iubilum op. 51, a Commission to Alberto Ginastera (1980).Index

'Ten fascinating narratives are presented here about the function of state music in a wider range of twentieth-century dictatorships. An international roster of distinguished authors ensures the most detailed study of this subject thus far. This unique volume clarifies how music was used to present the public face of state sanctioned propaganda.' - Patricia Hall, University of Michigan, USA'These essays, surveying musical works that span five decades and three continents, shed light on creations generally overlooked by virtue of their being "tainted" because they were commissioned by dictatorships. Instead of shunning these works, the essays explore the complex interactions of the state, the composers, and the public and offer new paths toward dissecting notions of creative autonomy in the twentieth century.' - Pamela Potter, University of Wisconsin-Madison, USA"Composing for the State [offers] ten case studies grounded in original research on the subject of music and twentieth-century dictatorships. Geographically, the scope is also wider, encompassing work not just on Europe but also on Latin America and China. And yet, its central question is not too far removed from Riley and Smith’s: How do we understand music commissioned by the state when that state is a dictatorship? In their introduction, the editors usefully suggest that these compositions should not simply be written off as propaganda. Instead, we should explore them, their genesis, and their reception both to enrich our comprehension of cultural life and net-works under dictatorships and, more broadly, to investigate further music’s role in the construction and perseverance of such political regimes." - Anthony J. Steinholff, Université du Québec à Montréal, Canada