Do not use an Oxford Academic personal account. When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. A particularly startling reminder of its role was played out in the Battle of the Somme-the bloodiest offensive in world history. There were occasions when music was performed right on the battlefield with fife, drum, bugle, and even bagpipe-each of which carried historic military connotations. This Symphony of the Front lasted for four years, and in its final season Cecil Barber wrote an article for The Musical Times of London called “Battle Music” that dramatized the reality of these observations. Robert Graves complained that a soldier's leave was particularly difficult because people at home could not understand life at the front. Peace is marked by an uneasy stillness, war by a tumultuous roar, and in Henry V William Shakespeare tapped a terrifying reality known to every Tommy, Fritz, and poilu on the front: War is Noise! That the sound of uninterrupted bombardment was the most difficult aspect of life in the trenches to accept was depicted by poets, musicians, and painters of numerous nationalities throughout the Great War.
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