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Personal anthem

A personal anthem is a song that an individual selects to embody their core identity, values, or pivotal life experiences, often leveraging its emotional and rhythmic qualities for personal motivation or psychological reinforcement.^[1] Unlike national anthems, which unify collectives through shared history and patriotism, personal anthems operate on an individualistic level, drawing from popular music genres to evoke resilience, self-affirmation, or introspection.^[2] Empirical surveys indicate that while not universally adopted, a notable portion of people—around one-third in sampled populations—maintain such a designated track, reflecting its role in everyday emotional regulation amid modern self-help practices.^[1] This concept underscores music's causal influence on mood and focus, with listeners reporting heightened agency when engaging anthems aligned with personal narratives, though its subjective nature precludes standardized criteria for selection.^[2]

Definition and Scope

Formal Definition

A personal anthem is a prescribed piece of ceremonial music performed on formal occasions to honor the arrival, presence, or departure of a specific individual, office, or rank, serving as an auditory signal for salutes and protocol observance.^[3] Unlike national anthems, which symbolize collective state identity, personal anthems are tied to the honoree's authority or position, often rendered after introductory ruffles and flourishes—short drum rolls and bugle calls that denote the level of distinction.^[4] These sequences, calibrated by rank (e.g., one to four ruffles based on grade), precede the anthem proper to amplify its signaling function in military and diplomatic settings.^[5] Typically instrumental and fanfare-like, personal anthems emphasize brevity (often under two minutes), bold brass orchestration, and rhythmic precision to evoke immediacy and command respect without lyrical content that might imply broader ideological endorsement.^[6] This format aligns with their role in structured honors, where the music cues personnel to stand at attention, face the direction of the sound, and execute prescribed courtesies, reinforcing hierarchical order through auditory cues rather than narrative.^[3] The designation "anthem" adapts the term's historical sense of acclamatory or responsive music—rooted in ecclesiastical antiphons for praise—from religious and communal contexts to secular veneration of authority figures, prioritizing empirical protocol over interpretive symbolism.

Distinction from Other Anthems

Personal anthems are differentiated from national anthems primarily by their scope and purpose: the former honor a specific individual officeholder or rank through ceremonial music played exclusively in their presence, while national anthems embody the collective identity, sovereignty, and unity of the state or nation, rendered during events representing the populace as a whole.^[7] This distinction arises from protocol where personal anthems signal deference to the person's authority or status in formal settings, such as arrivals or salutes, without invoking broader patriotic symbolism tied to territorial or civic allegiance.^[8] In contrast to anthems associated with sports teams or events—often custom entrance themes selected for motivational or crowd-energizing effects in non-official competitions—personal anthems adhere strictly to state-sanctioned ceremonial exclusivity, excluding ad hoc or performative uses outside governmental or military protocols.^[9] Their deployment is governed by established etiquette, such as ruffles and flourishes preceding the tune, to denote hierarchical respect rather than communal entertainment or rivalry.^[10] Although personal anthems may share stylistic elements like marches with regimental tunes, which represent military units and their collective history, the former prioritize individual specificity—tied to a singular role or person—over group-based affiliation or unit esprit de corps. Regimental marches, by protocol, accompany unit formations or reviews to evoke shared tradition, whereas personal variants isolate honor to the officeholder, avoiding conflation with broader organizational identity.^[11]

Historical Development

Origins in Ceremonial and Military Traditions

In ancient military contexts, music served primarily as a means to convey commands and motivate troops during processions and battles, with brass instruments like the Roman tuba used for signaling in legions and imperial triumphs. These practices established early precedents for auditory distinctions marking leaders' presence, though documentation remains sparse and focused on functional signals rather than composed honors.^[12] Medieval European traditions advanced this through heraldic announcements and military signals, where straight metal trumpets—variations including the buisine—were sounded by heralds to proclaim the arrival of nobility at tournaments, courts, and processions from the 12th century. In parallel, infantry units employed drums and fifes derived from tabor-and-pipe pairs for camp duties and battle orders, with the snare drum's adoption around the 14th century in Swiss forces spreading across Europe to regulate marches and alerts specific to unit leaders. These elements emphasized hierarchical recognition via sound, bridging practical utility with ceremonial distinction.^[13] By the 17th and 18th centuries, military innovations formalized regimental calls, evolving drum beats and emerging bugle tunes into personalized signals for officers and commands; for instance, the "call to quarters" originated in this era to summon troops for evening inspections under specific leadership. Concurrently, Baroque court composers integrated such traditions into monarchical ceremonies, crafting fanfares and marches for royal entries that highlighted the sovereign's individuality, as seen in French Versailles practices where music framed extraordinary royal events. This synthesis shifted emphasis from mere signals to composed honors tied to rank and personage.^[14]

Evolution in Modern States

In the 19th century, as republican states consolidated authority following Enlightenment-driven revolutions and the decline of absolute monarchies, personal anthems formalized to provide ceremonial distinction for elected or appointed heads of state, adapting military and naval traditions to signify leadership without invoking hereditary rule.^[15] This shift causally addressed the need for visible markers of executive dignity in non-monarchical systems, where egalitarian principles rejected divine-right symbolism yet required protocols to maintain order and respect during public appearances. For example, tunes derived from wartime contexts, such as those honoring naval victories, were repurposed around 1815 to herald presidential arrivals, embedding martial heritage into republican ritual.^[16] The 20th century saw further standardization amid the expansion of democracies, where protocols balanced inherited customs against anti-monarchical ideologies, codifying honors through military and governmental directives to ensure consistency in international and domestic ceremonies.^[8] By mid-century, departments of defense formalized specific marches as official tributes, reflecting a pragmatic accommodation: egalitarian rhetoric diminished overt pomp, but functional hierarchies in state functions necessitated audible cues for authority, preventing ceremonial ambiguity.^[17] Post-World War II, personal anthems endured in protocols despite surges in egalitarian and decolonization movements, preserving hierarchical signaling in transitional governance models like Commonwealth realms, where vice-regal salutes—often segments of royal or national tunes—were explicitly approved in the late 1960s to denote representatives' precedence.^[18] This persistence stemmed from causal imperatives of state continuity: even as ideological egalitarianism challenged elites, practical diplomacy and internal stability favored retained distinctions, formalized through royal or parliamentary warrants to adapt monarchical legacies to semi-autonomous structures without full rupture.^[19]

Usage and Protocols

In Monarchical Contexts

In monarchical systems, protocols for personal anthems emphasize the sovereign's arrival through ceremonial fanfares, typically involving trumpets and percussion to announce entry into formal venues or state gatherings. These fanfares, rooted in military traditions, signal deference and are followed by the playing of the royal anthem, during which military personnel present arms and civilians stand at attention. For instance, in the United Kingdom, trumpeters of the Household Cavalry or state bands perform a brief fanfare—such as the Gordon Jacob composition from 1953—prior to "God Save the King" upon the monarch's entrance.^[20]^[21] During investitures and other hereditary rituals, the personal anthem reinforces authority by marking the sovereign's conferral of honors, with the music halting all activity until completion. Recipients and attendees remain silent and immobile, highlighting the ritual's role in perpetuating dynastic legitimacy; this was evident in the 1969 investiture of Charles as Prince of Wales at Caernarfon Castle, where musical honors accompanied the ceremony.^[22] In state events like coronations, the anthem follows key symbolic acts, such as anointing, with fanfares amplifying the auditory hierarchy of the occasion, as seen in the 2023 Westminster Abbey service for King Charles III. Practices vary across realms: Commonwealth constitutional monarchies standardize the royal anthem ("God Save the King/Queen") to symbolize shared sovereignty under one crown, promoting institutional continuity without absolute rule.^[23] In contrast, absolute monarchies like Saudi Arabia integrate the personal element directly into the national anthem ("Aash Al Maleek," or "Long Live Our King"), played with fanfares at royal entries to affirm the ruler's unchallenged authority, reflecting the fusion of state and personal dominion.^[24] These distinctions underscore how anthems in hereditary systems adapt to governance structures, prioritizing empirical markers of loyalty over egalitarian norms.

In Republican and Presidential Systems

In presidential republics, protocols for personal anthems emphasize the institutional role of the elected executive over the individual, often employing marches or fanfares during inaugurations, diplomatic arrivals, and official processions to signal authority without implying hereditary prestige. In the United States, "Hail to the Chief"—adapted from a 19th-century tune and paired with four ruffles and flourishes—announces the president's entrance at formal events, a practice formalized under President Harry S. Truman in 1948 and codified in Army Regulation 600-25 in 1959.^[25]^[26] This ceremonial use elevates the presidency as an office of constitutional power, distinct from the person, though some incumbents like Jimmy Carter and Barack Obama periodically waived it to underscore republican humility and avoid perceptions of monarchical display.^[26] Such adaptations reflect broader tensions in republican systems between ceremonial tradition and populist egalitarianism, where music protocols balance symbolic deference to leadership with safeguards against personal cultism. In France's semi-presidential framework, the president's inauguration features the national anthem "La Marseillaise" followed by a troop review and 21-gun salute, eschewing a dedicated personal march to align with revolutionary-era republican ideals that reject individualized honors akin to royal anthems.^[27] Similarly, in parliamentary republics like Germany, federal presidential ceremonies incorporate the "Deutschlandlied" as the primary musical element during state functions, prioritizing national unity over executive-specific tunes to maintain institutional restraint.^[28] International variations, particularly in Latin American presidential systems shaped by 19th-century caudillo legacies, integrate military marches into executive processions, as seen in Brazil's Independence Day parades where presidential arrivals feature instrumental honors blending martial vigor with state symbolism. These practices adapt European-derived traditions to local contexts of strong executive authority, yet official guidelines—such as those in Brazilian military protocol—subordinate music to national anthems, mitigating risks of personal aggrandizement in populist environments.^[29] This approach sustains causal continuity of office legitimacy amid electoral volatility, contrasting monarchical permanence by tying honors to democratic mandates rather than lineage.

For Ranks and Offices

In military traditions, particularly within the United States Armed Forces, specific musical honors are rendered to general and flag officers during official ceremonies, distinct from national anthems reserved for higher dignitaries. These honors consist of a prescribed number of "ruffles and flourishes"—short bugle fanfares indicating rank—followed by a designated march. For instance, Army, Air Force, and Space Force general officers receive the "General's March" after the appropriate flourishes, with two ruffles for major generals (two-star rank) and four for full generals (four-star rank).^[5]^[3] Navy flag officers and Marine Corps generals are honored with the "Admiral's March" or "Flag Officer's March" in a similar sequence, ensuring recognition of their positional authority without overlap with head-of-state protocols.^[30]^[6] These practices are codified in official regulations to maintain uniformity across services. U.S. Army Regulation 600-25, "Salutes, Honors, and Courtesy," dated September 10, 2019, explicitly lists the "General's March" as Honors March 2 for applicable general officers and the "Admiral's March" as Honors March 3 for naval flag officers, performed during arrivals, reviews, or inspections.^[3] The number of flourishes escalates with seniority: one for brigadier generals, up to four for the highest ranks, reflecting hierarchical structure through audible distinction.^[5] Similar guidelines apply in joint ceremonies, as outlined by service bands, to synchronize honors for inter-service events.^[30] In diplomatic and judicial contexts, musical honors for non-head-of-state officials are less standardized and often adapt military precedents rather than featuring unique personal marches. Ambassadors and senior diplomats, when hosted at military installations, may receive ruffles and flourishes commensurate with their protocol equivalence to general officers, followed by service-specific tunes, though national anthems predominate for foreign representatives.^[3] High court officials, such as chief justices in ceremonial processions, occasionally warrant fanfares akin to those for flag officers, but documentation emphasizes consistency via defense manuals over bespoke compositions.^[9] These applications underscore rank-based protocols in reinforcing institutional order during formal proceedings.

Notable Examples

United States

In the United States, "Hail to the Chief" functions as the personal anthem for the President, signaling the arrival of the officeholder at official events and distinguishing it from the national anthem, "The Star-Spangled Banner." The melody derives from a 1812 arrangement by James Sanderson of lyrics from Sir Walter Scott's 1810 poem "The Lady of the Lake," specifically the line "Hail to the Chief who in triumph advances."^[15] It was first linked to a U.S. president in 1815 during a commemoration of George Washington but gained presidential association in 1828 when played for John Quincy Adams at a Thomas Jefferson birthday event in Washington, D.C.^[16] By the mid-19th century, First Ladies Julia Tyler in 1844 and Sarah Polk reinforced its use to announce the president, and it was performed at President William McKinley's 1897 inauguration, marking its formal adoption in presidential protocol.^[25] The U.S. Marine Band, known as "The President's Own," typically performs it preceded by four ruffles and flourishes, a tradition codified in military honors manuals.^[31] For the Vice President, "Hail Columbia"—composed in 1789 by Philip Phile with lyrics by Joseph Hopkinson—serves as the designated honors music, reflecting adaptation for subordinate executive roles in a republican system without monarchical precedents.^[32] Originally a patriotic march, it became associated with vice-presidential entrances and was officially designated for that purpose on August 1, 1969, by the Department of Defense, often accompanied by four ruffles and flourishes.^[33] Unlike the president's anthem, it lacks the same universal invocation but is played at formal ceremonies involving the vice president, such as arrivals at military or diplomatic functions. Cabinet secretaries and other high officials receive general military honors including ruffles and flourishes followed by service-specific marches (e.g., "The Army Goes Rolling Along" for the Secretary of the Army), but no distinct personal anthem equivalent to those for the president or vice president exists in protocol.^[3] These practices embed personal honors in events like presidential arrivals at the White House or Capitol, where "Hail to the Chief" cues audiences to the commander's presence, performed by ensembles such as the U.S. Army Heraldry or Marine Band since the 19th century.^[31]

United Kingdom and Commonwealth

In the United Kingdom, ceremonial protocols for non-sovereign members of the royal family emphasize fanfares and regimental marches over dedicated personal anthems, reflecting military traditions tied to their honorary roles. For instance, adaptations of marches such as "The British Grenadiers," a 17th-century tune associated with the Grenadier Guards, are performed during entrances by princes or other royals at official events, signaling respect without invoking the national anthem reserved for the monarch. These practices persist in modern ceremonies, including the State Opening of Parliament, where military bands play fanfares and traditional pieces to herald royal arrivals prior to "God Save the King."^[34] Across Commonwealth realms, personal anthems manifest as the vice-regal salute for governors-general and equivalent representatives, adapting British imperial protocols to local contexts post-federation or dominion establishment. In Canada, formalized after confederation in 1867, the vice-regal salute for the governor-general and lieutenant governors comprises the initial six bars of "God Save the King" followed by the first six bars and concluding six bars of "O Canada," distinguishing the representative's presence from full national or royal honors.^[35] In Australia, following federation on January 1, 1901, the vice-regal salute for the governor-general and state governors evolved to the first four bars and last four bars of "Advance Australia Fair," prioritizing the national anthem's structure while honoring the monarch's delegate; prior to 1984, it more closely mirrored British royal salutes.^[36] This variation underscores retained imperial legacies, with the salute played at official functions to denote the office's viceregal authority independent of the sovereign's direct anthem.^[37]

Other Nations

In France, military honors for the president feature traditional Republican marches performed by the Garde républicaine, such as "Le Régiment de Sambre et Meuse" and "Sidi Brahim," which accompany ceremonial entrances and salutes during official events.^[38] ^[39] In 2017, composer Patrick Nicolle created a dedicated military march as a tribute to President Emmanuel Macron, reflecting personalized adaptations within established protocols.^[40] In Germany, the Bundeswehr renders honors to the federal president with Prussian-era marches, including the "Yorckscher Marsch" during guard formations at Bellevue Palace and the "Preußischer Präsentiermarsch" for inspections and arrivals.^[41] ^[42] For the chancellor, while the Großer Zapfenstreich farewell ceremony allows personal music selections—such as Olaf Scholz's choices of "In My Life" by The Beatles and "Respect" by Otis Redding in 2025—ongoing protocols rely on these standard military pieces rather than fixed personal anthems.^[43] ^[44] In Japan, imperial ceremonies honoring the emperor incorporate historical military marches like "Battotai" (Drawn Sword Regiment), composed in 1912 and evoking martial traditions from the Meiji era onward.^[45] Traditional gagaku court music also features in solemn events marking the emperor's reign, as seen in performances for Emperor Akihito's 30-year milestone in 2019.^[46] In newer or post-colonial states, such as those in Africa, personal anthems remain rare, with protocols often adapting national anthems or generic military fanfares for leaders, though specific traditions continue to evolve without widespread standardization.

Cultural and Symbolic Role

Functions in Ceremonies

In ceremonial protocols, personal anthems function as auditory signals to announce the arrival or presence of a high-ranking individual, such as a head of state or monarch, thereby initiating coordinated displays of deference among participants. For example, in United States presidential events, the tune "Hail to the Chief"—preceded by four sets of ruffles and flourishes performed by drums and bugles—alerts attendees to the President's entrance at state functions, dinners, or military reviews, prompting uniformed personnel to salute and civilians to stand at attention.^[25]^[47] This sequence, standardized by Department of Defense directives since 1954, ensures precise timing for honors, preventing disorder in large gatherings.^[31] The performance coordinates order by synchronizing actions across the assembly; ruffles and flourishes, consisting of 10 notes each from drums and bugles, build anticipation before the full anthem, during which flags may be dipped and troops present arms in unison.^[48] In such rituals, the music halts other activities, directing focus and deference toward the honoree, as seen in protocols for official arrivals where the piece plays only once per event to maintain its signaling efficacy.^[49] Personal anthems integrate with visual and procedural elements to amplify ceremonial structure, often accompanying processions or salutes; for instance, during a presidential review of troops, the anthem aligns with the parading of colors and the command to "present arms," creating a layered protocol of auditory and kinetic honors.^[50] This fusion heightens the event's formality without verbal cues, relying on the music's recognizable strains—typically 30 to 60 seconds in duration—to embed the ritual in tradition.^[30] In monarchical settings, analogous roles appear, as with the playing of the royal anthem upon a sovereign's entry to state banquets or investitures, where it cues guards to slope arms and attendees to rise, embedding the music within processional sequences for seamless execution.^[51] Personal anthems, integral to ceremonial protocols honoring leaders, psychologically cue deference and unity by leveraging music's capacity to synchronize group attention and evoke emotional alignment with authority. Empirical investigations demonstrate that exposure to arousing, formal music in ritual contexts heightens prosocial tendencies and cooperative behaviors, as participants experience elevated mood and reduced self-focus, fostering collective orientation toward shared goals often embodied by the honored figure.^[52] This effect stems from music's role in modulating arousal and affiliation, where structured auditory patterns during processions or entrances biologically prime observers for respect, akin to evolutionary adaptations for group coordination under leadership.^[53] Socially, these anthems signal status hierarchies through audible markers that distinguish high-ranking individuals, countering claims of irrelevance in meritocratic frameworks by underscoring the persistence of differentiated roles for efficient social organization. Anthropological analyses posit music's origins in credible signaling during rituals and processions, where it communicates coalition strength and leader legitimacy, thereby reinforcing vertical structures essential for large-scale cooperation beyond kin-based ties.^[54] In hierarchical societies, such signaling mitigates coordination costs by visually and aurally affirming authority, with behavioral responses like standing or saluting empirically linked to ritual music's enhancement of obedience and group cohesion.^[55] Distinct from national anthems' emphasis on diffuse patriotism, personal anthems generate targeted pride spillover, associating the leader's persona with institutional continuity and evoking loyalty that blends individual reverence with broader communal stability. Cross-cultural data on musical behaviors reveal consistent associations between formal songs in authority-linked events and heightened religiosity or formality, which amplify perceptions of the honoree's symbolic weight, sustaining motivational alignment in diverse polities.^[56] This dynamic persists empirically in modern contexts, where ceremonial music subtly cues moral elevation and adherence to norms, independent of egalitarian ideologies.^[57]

Criticisms and Contemporary Debates

Reinforcement of Hierarchy

Critics from egalitarian perspectives have occasionally argued that personal anthems, as elements of ceremonial protocol, perpetuate outdated hierarchies by signaling deference to individual leaders, potentially fostering a culture of subservience in democratic contexts.^[58]^[59] For instance, former U.S. President Jimmy Carter sought to limit the playing of "Hail to the Chief" during his tenure, viewing it as excessively elevating the office and inconsistent with republican simplicity, though the tradition persisted due to protocol norms.^[58] Such views align with broader egalitarian critiques of monarchical or quasi-royal pomp, where symbolic honors are seen as reinforcing inequality rather than merit-based authority, particularly in societies emphasizing flat structures.^[60] Counterarguments emphasize the functional realism of these traditions in large-scale governance, where clear auditory signals of hierarchy facilitate coordination, respect for command, and orderly transitions of power, averting ambiguity that could undermine stability.^[61] Historical evidence supports this, as enduring ceremonial practices in stable polities—from Roman imperial fanfares to modern state protocols—have correlated with effective authority projection and reduced factional disruption during leadership changes, as seen in the unbroken U.S. use of "Hail to the Chief" since its formal adoption in 1812 amid early republican uncertainties.^[62] In causal terms, these symbols encode evolved social mechanisms for norm enforcement, akin to how rituals in hierarchical organizations prevent coordination failures in complex systems.^[63] Controversies remain rare, typically arising in debates over ceremonial excess rather than the anthems themselves, such as questions of resource allocation in fiscally strained environments where protocol costs compete with public needs, though empirical instances tied directly to personal anthems are limited.^[64] Proponents note that minimal expenses—often involving existing military bands—yield disproportionate benefits in perceptual legitimacy, outweighing egalitarian qualms in practice across both republican and monarchical systems.^[61]

Relevance in Egalitarian Societies

In highly egalitarian societies like Sweden, where income inequality is among the lowest globally with a Gini coefficient of approximately 0.27 as of 2023, personal anthems tied to the monarchy, such as Kungssången, continue to feature in official ceremonies despite cultural emphases on social equality. This persistence counters post-1960s countercultural challenges to authority and tradition, which promoted anti-hierarchical norms across Western democracies, yet empirical measures of institutional approval reveal no widespread rejection of such symbols.^[65] A 2023 SOM Institute survey indicated stable support for the Swedish monarchy, with republican sentiment at its lowest in two decades, reflecting broad acceptance of ceremonial elements including anthems.^[66] Similarly, Associated Press reporting in 2023 highlighted the royal family's popularity amid Sweden's egalitarian framework, where the monarchy garners widespread backing without undermining democratic equality.^[67] Adaptations in these contexts often limit personal anthems to formal state functions, permitting opt-outs in informal or civilian settings to align with flattened social hierarchies, as seen in Nordic practices where royal tunes are absent from everyday public life. This selective application accommodates egalitarian pressures while preserving symbolic roles in structured events, such as royal visits or national holidays, where attendance figures demonstrate sustained public engagement— for instance, events marking Sweden's 500th independence anniversary in 2023 drew significant crowds affirming tradition's viability.^[68] Polling data from 2023, including a University of Gothenburg study showing 68% opposition to republicanism, provides evidence against ideological claims of obsolescence, indicating that causal attachments to cultural continuity outweigh abstract anti-hierarchical critiques in practice.^[69] Such support persists even as academic and media narratives, often influenced by progressive biases, occasionally frame these elements as relics, underscoring a disconnect between elite discourse and popular sentiment.^[70]

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Composée par le Strasbourgeois Patrick Nicolle. Une marche ... - DNA
Nov 5, 2017 · Une marche militaire a été composée en hommage au président de la République. Initiative qui revient à Patrick Nicolle, trompette-major ...
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Jan 25, 2023 · Einmarsch der Ehrenformation mit dem Yorck'schen Marsch (Marsch des ... Bundespräsident Frank-Walter Steinmeier im Schloss Bellevue in ...Missing: Bundespräsident | Show results with:Bundespräsident
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Preußischer Präsentiermarsch [German march] - YouTube
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Farawell Honors of Olaf Scholz as Chancellor of Germany 2025
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Imperial Japanese March - Battotai - YouTube
May 21, 2021 · Battotai (Drawn Sword Regiment), also known as the Japanese Army Branch March, is a Japanese March composed by Charles Leroux in 1912.
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Gagaku performance fetes Emperor's 30-year reign - YouTube
Mar 18, 2019 · Japan's Imperial couple attends a traditional court music performance to commemorate the Emperor's 30-year reign.Missing: fanfare | Show results with:fanfare
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Hail to the Chief - Taps Bugler: Jari Villanueva
Derived from an old Gaelic air, “Hail to the Chief” was used in James Sanderson's musical play of 1812, “The Lady of the Lake. ... It is so interesting to learn ...
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Ruffles and Flourishes - Taps Bugler: Jari Villanueva
“Ruffles and Flourishes” are played stationary by trumpets and drums or with full band. All present should salute. In outdoor ceremonies ruffles and flourishes ...Missing: protocol | Show results with:protocol
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[PDF] dafpam34-1203.pdf - Air Force
Sep 13, 2022 · Ruffles and Flourishes and the appropriate march are played if the grade or title of the reviewing officer warrants it. Reviewing Officer:.<|separator|>
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Royal Events - Debretts
Personal friends of the Royal Family may be asked to lunch, to dinner or to ... The royal party arrives punctually at 4pm and a band plays the National Anthem.
[52]
The sound of cooperation: Musical influences on cooperative behavior
We find that happy music significantly and positively influences cooperative behavior. We also find a significant positive association between mood and ...
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Universality and diversity in human song | Science
Music appears in every society observed; that variation in song events is well characterized by three dimensions (formality, arousal, religiosity);Music Appears In All... · Musical Behavior Worldwide... · The Range Of Musical...<|separator|>
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Music and dance as a coalition signaling system | Human Nature
Music and dance may have evolved as a coalition signaling system that could, among other things, credibly communicate coalition quality.
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11 - Ritual and Religion as Social Technologies of Cooperation
Our focus is empirical, however, rather than just theoretical. We examine the effects that collective rituals can have on cooperation and coordination by ...
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These studies suggest that the form of music is systematically related to its affective and behavioral effects in similar ways across cultures. But they can ...
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Jun 7, 2016 · We propose that religious music can function as a subtle cue associated with moral standards via cultural socialization and ritual participation ...
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Carter eulogized by Harris and others as 39th president returns to ...
Jan 8, 2025 · While in office he wanted to keep the Marine Band from playing “Hail to the Chief,” thinking it elevated the president too much, but his ...<|separator|>
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Time To Scale Back The Inaugural Pomp And Circumstance?
Jan 21, 2013 · Indeed, the playing of “Hail To The Chief” and 21 gun salute itself. These are not, I would submit, the traditions of a healthy democratic ...
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Poetry against the monarchy - Culture Matters
May 26, 2022 · Fran Lock presents four poems which capture the oddity and the horror of living in a country without class solidarity and where we are encouraged to accept a ...Missing: personal | Show results with:personal
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Oh 'Hail' yes: Here's the history of the song that signals the president
Aug 8, 2015 · The most famous is "Hail to the Chief" (more on it later). But there is a strict hierarchy of other tunes. The vice president gets "Hail ...
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The psychological basis of music appreciation: Structure, self, source.
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Poll: Americans disapprove of spending public funds to put on ...
Jun 14, 2025 · President Donald Trump ordered Saturday's parade, which will feature soldiers, vehicles and military aircraft in Washington, D.C..
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1960s: Counterculture and Civil Rights Movement - History.com
May 30, 2012 · The 1960s marked one of the most tumultuous and divisive decades in world history. The era saw an energized civil rights movement, the Vietnam War and antiwar ...Missing: ceremonies | Show results with:ceremonies
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Swedish royal family marks Sweden's 500 years as independent ...
Jun 6, 2023 · Sweden's royal family is popular and the monarchy enjoys widespread support, despite the egalitarianism that otherwise characterizes society in ...
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Kings, Republics, and the Nordic Paradox: Why Scandinavia Stayed ...
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Percentage of Europeans who approve their monarchies! : r/MapPorn
Sep 30, 2023 · A recent poll from the University of Gothenburg shows that 68 percent don't want Sweden to become a republic, while just 11 percent do.
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What do Europeans think about their monarchies?
May 7, 2023 · In the survey commissioned by the Swedish Republican Association, a meagre 58% of Swedes favoured the monarchy. ... But it's not all lost for the ...