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Colin Murray Turbayne

2024-11-13T00:29:12Z

160.72.80.178: /* Academic works */ ''Repaired reference citations''~~~~NHPL

{{Short description|Australian philosopher (1916–2006)}}
{{Use dmy dates|date=January 2017}}
{{Use Australian English|date=January 2017}}
{{Infobox philosopher
|region = [[Western philosophy]]
|era = [[Contemporary philosophy]]
|image =
|alt =
|caption =
|name = Colin Murray Turbayne
|birth_date = {{Birth date|1916|2|7|df=yes}}
|birth_place = [[Tannymorel]] {{Flag|Australia}}
|death_date = {{Death date and age|df=yes|2006|5|16|1916|2|7}}
|death_place = [[Queensland]], Australia<ref>Paul J. Olscamp. [https://berkeleystudies.philosophy.fsu.edu/sites/g/files/upcbnu886/files/BS%20017%202006%20Turbayne%20Obit.pdf In Memoriam]: Colin Murray Turbayne – [https://web.archive.org/web/20101110022554/http://people.hsc.edu/berkeleystudies/pastissues.php ''Berkeley Newsletter''] No. 17 (2006): pp. 5–6.</ref>
|school_tradition =
|main_interests = [[George Berkeley]]'s philosophy, [[Epistemology]], [[Metaphysics]], [[Metaphor]], [[Language]]
|notable_ideas = ''The Myth of Metaphor''
|influences =
|influenced =
|signature =
|signature_alt =
|awards = [[Guggenheim Fellowship]],<ref>[https://www.gf.org/fellows/colin-m-turbayne/ Colin M. Tyrbayne: Guggenheim Fellowship 1965 on gf.org]</ref> [[National Endowment for the Humanities]] Grant <ref>[https://apps.neh.gov/publicquery/main.aspx?q=1&a=0&n=1&ln=Turbayne&fn=Colin&o=0&ot=0&k=0&f=0&s=1&sv=NY&cd=0&p=0&d=0&at=0&y=0&prd=0&cov=0&prz=0&wp=0&sp=0&ca=0&arp=0&ob=year&or=DESC Colin Murrray Turbayne National Endowment for the Humanities grant 1979 on neh.gov]</ref>
}}

'''Colin Murray Turbayne''' (7 February 1916 – 16 May 2006) was an Australian philosopher and an internationally recognized authority on the writings of [[George Berkeley]]. He spent most of his thirty five year academic career at the [[University of Rochester]] and was noted as the author of the book ''The Myth of Metaphor''.

==Biography==
===Early life===
Turbayne was born on February 7, 1916, in the rural town of [[Tannymorel]] in [[Queensland]], Australia.<ref name="books.google.com">[https://books.google.com/books?id=DsKvAwAAQBAJ&dq=Colin+Murray+Turbayne&pg=PA2451 ''Dictionary of Modern American Philosophers'' Shook, John. 2005 Biography of Colin Murray Turbayne on Google Books]</ref> His father, David Livingston Turbayne, was a banker and his mother, Alice Eva Rene Lahey, was descended from an early pioneer family in Queensland.

Colin received his earliest education at the Church of England Grammar School in Brisbane, where he distinguished himself as both a cricketer and Head Prefect. He completed his Bachelor of Arts degree at the [[University of Queensland]] in Brisbane, Australia in 1940 as well as an MA degree in 1946. During World War II he worked for Australian Intelligence in the Pacific War theatre and served as chief of staff for Australian intelligence to [[Douglas MacArthur]] in several pacific theatres.<ref name="books.google.com"/><ref name="berkeleystudies.philosophy.fsu.edu">[https://berkeleystudies.philosophy.fsu.edu/sites/g/files/upcbnu886/files/BS%20017%202006%20Turbayne%20Obit.pdf ''In Memorium: Colin Murray Turbayne'' Paul J. Olscamp - President Emeritus Bowing Green State University "Berkely Newsletter" on berkelystudies.philosophy.fsu]</ref>

In 1940 he married Ailsa Krimmer and subsequently raised a family of two boys: Ron and John. They remained happily married for fifty-one years until her death in 1992.<ref name="ReferenceA">[https://berkeleystudies.philosophy.fsu.edu/sites/g/files/upcbnu886/files/BS%20017%202006%20Turbayne%20Obit.pdf ''In Memorium: Colin Murray Turbayne'' Paul J. Olscamp - President Emeritus Bowling Green State University "Berkely Newsletter" on berkelystudies.philosophy.fsu]</ref>

===Academic studies===
After emigrating to the United States following the conclusion of World War II in 1947, he undertook graduate studies at the University of Pennsylvania. In 1950 he earned both his MA and PhD degrees in philosophy from the University of Pennsylvania.<ref name="books.google.com"/>

[[Image:URRushRhees.jpg|thumb|upright=.95|right|The Rush Rhees Library at University of Rochester]]
His PhD. dissertation at the University of Pennsylvania ''Constructions Versus Inferences in the Philosophy of Bertrand Russell'' focused on the philosophical works of the British philosopher and [[logician]] [[Bertrand Russell]] (1950).<ref name="books.google.com"/> His MA dissertation at the University of Queensland focused on ''Berkeley's philosophy as embodied in his Commonplace book''(1947).<ref>[https://www.worldcat.org/search?q=su%3a%22Academic%20theses%22+AND+kw%3a%22Turbayne,%20Colin%20Murray%22 Colin Murray Turbayne - academic thesis on worldcat.org]</ref>

Following the completion of his advanced studies, Turbayne acquired his first academic post as an assistant professor of philosophy at the [[University of Washington]]. He remained on the faculty from 1950 until 1955. Subsequently, he served as an assistant professor of speech at the [[University of California at Berkley]] from 1955 until 1957. Soon thereafter, he was appointed as an associate professor of philosophy at the [[University of Rochester]] in 1957. A short time later in 1962, he was promoted to Full Professor of Philosophy and continued to teach at the University of Rochester until his appointment to professor emeritus in 1981.<ref name="books.google.com"/>

===Academic works===
In addition to serving as a lecturer, Turbayne was a noted authority and researcher on the philosophical insights of [[George Berkeley]]. Over the years, he edited several of Berkeley's works and essays, while helping to sustain interest in Berkeley's works during the mid twentieth century.<ref name="books.google.com"/> In addition, he was the first commentator to recognize the central importance of [[metaphor]] in the philosophy of Berkeley.<ref>Murphy, Jeffrie G. "Berkeley and the Metaphor of Mental Substance." ''[[Ratio (journal)|Ratio]]'' 7 (1965):171, note 3.</ref> He is best known for his book ''The Myth of Metaphor-'' which was published in 1962 by Yale University Press.<ref name="ReferenceB">[https://books.google.com/books?id=DsKvAwAAQBAJ&dq=Colin+Murray+Turbayne&pg=PA2451 ''Dictionary of Modern American Philosophers'' Shook, John. 2005 Biography of Colin Murray Turbayne on Google Books]</ref> A critical reviewer described the work as a "welcome addition to the analysis of metaphorical language".<ref name=Hesse1966>{{cite journal |last1=Hesse |first1=Mary |title=Review of The Myth of Metaphor |journal=Foundations of Language |date=1966 |volume=2 |issue=3 |pages=282–284 |jstor=25000234 }}</ref>

In his book, Turbayne argues that metaphor would necessarily occur in any language that could ever claim to embody richness and depth of understanding.<ref>Murphy, Jeffrie G. "Berkeley and the Metaphor of Mental Substance." ''[[Ratio (journal)|Ratio]]'' 7 (1965):176.</ref> In addition, he provides a critical analysis of the simplistic [[Cartesianism|Cartesian]] and [[Newtonianism|Newtonian]] depictions of the universe as little more than a "machine" - a concept which underlies much of the scientific [[materialism]] which prevails in the modern Western world.<ref name=Hesse1966/> He also provides evidence that the philosophical concept of "material [[substance theory|substance]]" or "[[Stratum (linguistics)#Substratum|substratum]]" has limited meaning at best and that modern man has unknowingly fallen victim to an unnecessary literal interpretation of one of many potentially beneficial metaphorical models of the universe.<ref>[http://www.sas.rochester.edu/phl/about/prize.html The University of Rochester Department of Philosophy- Berkley Essay Prize Competition - History of the Prize Colin Turbayne's ''The Myth of Metaphor'' on rochester.edu]</ref><ref>[https://www.theculturium.com/greg-goode-colin-turbayne-and-the-myth-of-metaphor/ ''The Culturium'' - "Greg Goode Colin Turbayne and the Myth of Metaphor" January 15,2017 on theculturium.com]</ref><ref name="ReferenceC">[https://books.google.com/books?id=DsKvAwAAQBAJ&dq=Colin+Murray+Turbayne&pg=PA2451 ''Dictionary of Modern American Philosophers'' Shook, John. 2005 p. 2451 Biography of Colin Murray Turbayne on Google Books]</ref><ref name=Hesse1966/><ref>[https://plato.stanford.edu/entries/metaphor/#MetaMakeBeli "Stanford Encyclopedia of Philosophy: Metaphor" Stanford University, August 19, 2011 Revised August 12, 2022 "Section 5. Recent Developments 5.3 Metaphor and Make Believe" ISSN 1095-5054. Colin Turbayne's "The Myth of Metaphor" and ''"It is easy to loose sight of metaphorical pretense. We may mistake the model for a real instance of what it models...take literally what was originally mean metaphorically. ...Berkeley and his mechanist rivals...set out to offer metaphors but end up propounding theories; they lost track of their own "as ifs" and became victims of their own insights"'' See Hills, David, "Metaphor", The Stanford Encyclopedia of Philosophy (Fall 2024 Edition), Edward N. Zalta & Uri Nodelman (eds.), URL = <https://plato.stanford.edu/archives/fall2024/entries/metaphor/>. on plato.stanford.edu]</ref>

Another central theme of ''The Myth of Metaphor'' is Turbayne's analysis of Berkelely's theory of vision and his theory of space as compared to Newtonian mechanics. Through careful analysis, Turbayne demonstrates that Berkeley's "language metaphor" provides a more convincing explanation of various natural phenomena including: the Barrovian case, the case of the horizontal moon and the case of the inverted retinal image.<ref name="berkeleystudies.philosophy.fsu.edu"/>
Turbayne also provides a detailed review of Berkeley's effort to dispel the confusing use of metaphorical language in the description of the mind and in the description of ideas in general through the misuse of hypotheses which were initially developed to explain such occurrences in the physical world.<ref name="ReferenceC"/> As a result, Turbayne has been described as one of the leading interpreters of Berkeley's theories of vision and relative motion as well as Berkeley's relationship to both Kant and Hume.<ref name="berkeleystudies.philosophy.fsu.edu"/><ref>[https://contentdm.carleton.edu/digital/collection/CarlMisc/id/6551 ''The Carleton Miscellany'', 1965 Spring, Carleton College pp. 94-101 Critical Review of ''The Myth of Metaphor'' by Colin Murray Turbayne on Carleton Digital Collections at carleton.edu]</ref>

In his final book ''Metaphors for the Mind: The Creative Mind and Its Origins'' (1990), Turbayne illustrates the manner in which historical traditions in philosophical thought have contributed to accepted modern theories of human thought in general and theories of language in particular.<ref>[http://www.sas.rochester.edu/phl/about/prize.html The University of Rochester Department of Philosophy- Berkley Essay Prize Competition - History of the Prize Colin Turbayne's ''Metaphors for the Mind: The Creative Mind and Its Origins'' on rochester.edu]</ref> Turbayne provides an in depth review of the early philosophical writings of both Plato and Aristotle, while illustrating the manner in which Platonic metaphors have influenced the works of both Berkeley and [[Immanuel Kant]].<ref name=Turbayne1991>{{cite book | last=Turbayne | first=Colin Murray | title=Metaphors for the mind : the creative mind and its origins | publisher=University of South Carolina Press | publication-place=Columbia, S.C. | date=1991 | isbn=0-87249-699-6 | oclc=21675468}}</ref><ref name=Bracken1994>{{cite journal | last=Bracken | first=Harry M. | title=Colin Murray Turbayne., Metaphors for the Mind: The Creative Mind and Its Origins | journal=International Studies in Philosophy | publisher=Philosophy Documentation Center | volume=26 | issue=2 | year=1994 | issn=0270-5664 | doi=10.5840/intstudphil1994262171 | pages=151}}</ref> In addition, he demonstrates the manner in which Plato's procreation model as outlined within his ''[[Timaeus (dialogue)|Timeus]]'' has influenced modern theories of thought and language. He concludes by attempting to restore the original model which describes a mind in which both the female and male hemispheres function in concert to participate in the act of creation.<ref name=Turbayne1991 /><ref name=Bracken1994 /> A critical reviewer of the book noted that it contains interesting material which is likely to both provoke and surprise its readers.<ref name=Bracken1994 /> In addition, it has been described as presenting a contribution to the modern philosophical debate concerning [[relativism]] and [[philosophical realism]].<ref name=Turbayne1991 />

{{ external media|width=125px|image1=Photograph of Colin M. Turbayne in his memoriam by [[Paul J. Olscamp]] [https://berkeleystudies.philosophy.fsu.edu/sites/g/files/upcbnu886/files/BS%20017%202006%20Turbayne%20Obit.pdf '''Here on fsu.edu'''] |image2=Photograph of Colin Murray Turbayne at the University of Rochester in 1965 [https://www.gf.org/fellows/colin-m-turbayne/ '''Here on gf.org''']}}

Turbayne has been described as being convinced of [[Phenomenalism]], as well as being skeptical of the validity of [[Materialism]].<ref name="ReferenceC"/> In addition, he has been cited as supporting the view that metaphors are properly characterized as "categorical mistakes" which may lead an unsuspecting user to considerable obfuscation of thought.<ref name="ReferenceC"/><ref>[https://plato.stanford.edu/entries/metaphor/#MetaMakeBeli "Stanford Encyclopedia of Philosophy: Metaphor" Stanford University. August 19, 2011 Revised August 12, 2022. "Section 5 Recent Developments - 5.3 Metaphor and Make Believe." ISSN 1095-5054. Colin Turbayne's "The Myth of Metaphor" and ''"It is easy to loose sight of metaphorical pretense. We may mistake the model for a real instance of what it models...take literally what was originally mean metaphorically. ...Berkeley and his mechanist rivals...set out to offer metaphors but end up propounding theories; they lost track of their own "as ifs" and became victims of their own insights"'' See Hills, David, "Metaphor", The Stanford Encyclopedia of Philosophy (Fall 2024 Edition), Edward N. Zalta & Uri Nodelman (eds.), URL = <https://plato.stanford.edu/archives/fall2024/entries/metaphor/>.on plato.stanford.edu]</ref>

In the early 1990s Colin M. Turbayne and his wife established an International Berkeley Essay Prize competition in cooperation with the Philosophy Department at the University of Rochester in order to encourage continued research into Berkeley's works by aspiring young scholars.<ref>[http://www.rochester.edu/college/PHL/prize.html Colin and Ailsa Turbayne International Berkeley Essay Prize Competition]</ref>

Notable students of Colin Murray Turbayne include: [[Paul J. Olscamp]] - President Emeritus Bowling Green State University & Western Washington University.<ref name="berkeleystudies.philosophy.fsu.edu"/>

===Honours===
During his long academic career Turbayne was a noted [[Fulbright Fellow]] as well as the recipient of a Guggenheim Fellowship in 1965<ref>[https://www.gf.org/fellows/colin-m-turbayne/ John Simon Guggenheim Memorial Foundation: Colin M. Turbayne on www.gf.org]</ref><ref name="ReferenceD">[https://berkeleystudies.philosophy.fsu.edu/sites/g/files/upcbnu886/files/BS%20017%202006%20Turbayne%20Obit.pdf ''In Memorium: Colin Murray Turbayne'' Paul J. Olscamp "Berkely Newsletter" on berkelystudies.philosophy.fsu]</ref> In 1959 and 1966 he was the recipient of grants from the [[American Council of Learned Societies]] for his contributions to their project on the linguistic structure of the mind.<ref>[https://www.acls.org/fellow-grantees/colin-murray-turbayne/ The American Council of Learned Societies - Colin Murray Turbayne ACLS Grants 1959, 1966 on acls.org]</ref> In 1979 he was honored as a senior fellow by the [[National Endowment for the Humanities]] (NEH).<ref>[https://securegrants.neh.gov/publicquery/main.aspx?q=1&a=0&n=1&ln=Turbayne&fn=Colin&o=0&ot=0&k=0&f=0&s=1&sv=NY&cd=0&p=0&d=0&at=0&y=0&prd=0&cov=0&prz=0&wp=0&sp=0&ca=0&arp=0&ob=year&or=DESC National Endowment for the Humanities - Grants to Colin Murray Turbayne in 1979 on neh.gov]</ref><ref name="ReferenceD"/> In addition, he was the recipient of an Honorary Doctorate in Humane Letters at [[Bowling Green State University]].<ref name="ReferenceA"/> He was cited in Marquis' ''Who's Who in the World, 1982-1983.''<ref>[https://books.google.com/books?id=x0gbAQAAMAAJ&q=Marquis+Who%27s+Who+Colin+Murray+Turbayne "Marquis Who's Who Colin Murray Turbayne" p. 1085 on Google books]</ref> as well as ''Who was Who in America'' in 2010.<ref>[https://books.google.com/books?id=73AwAQAAMAAJ&q=Marquis+Who%27s+Who+Colin+Murray+Turbayne "Who was Who in America Colin Murray Turbayne" p. 311 on Google Books]</ref>

Turbayne's philosophical lectures at the University of Rochester were often punctuated with illustrative re-enactments of scenes from Shakespearian drama to illustrate his arguments. It was not at all unusual for him to appear before his students at lectures dressed in cloak and dagger quoting the moving scene from ''MacBeth'': "Is this a dagger that I see before me..?" in order to illustrate the use of metaphor. He was considered a master Socratic interrogator who gently guided his students to the proper conclusion. He was also noted for his skillful use of the ''[[reductio ad absurdum]]'' in his lectures. Standing ovations from his grateful students were commonplace throughout his long tenure at the university.<ref name="ReferenceA"/>

===Death===
Colin Murray Turbayne died on May 16, 2006, in Queensland, Australia at the age of 90. He was survived by his two sons and two grandchilden.<ref name="ReferenceA"/>

==Publications==
{{External media |width=200px|video1=You may read selected publications by Colin Murray Turbayne [https://archive.org/search.php?query=Colin+Murray+Turbayne&sin= '''Here on Archive.org''']|video2=You may read Turbayne's "Berkeley's Two Concepts of Mind" (1959) {{cite journal |last1=Turbayne |first1=Colin Murray |title=Berkeley's Two Concepts of Mind |journal=Philosophy and Phenomenological Research |date=1959 |volume=20 |issue=1 |pages=85–92 |doi=10.2307/2104957 |jstor=2104957 }} }}

===Texts===
Included among Colin Murray Turbayne's publications are the following texts:<ref>[https://www.google.com/search?tbm=bks&q=Colin+Murray+Turbayne Colin Murray Turbayne on Google Books]</ref>
* ''Three Dialogues between Hylas and Philonous'' by George Berkeley, Editor Colin Murray Turbayne (1954)<ref name="ReferenceB"/>
* ''A Treatise Concerning the Principles of Human Knowledge'' by George Berkeley, Editor Colin Murray Turbayne (1957) <ref name="books.google.com"/>
*''The Myth of Metaphor'' by Colin Murray Turbayne, with forewords by Morse Peckham and Foster Tait and appendix by Rolf Eberle. Columbia, S. C: University of South Carolina Press, 1970. Rev. of 1962 ed. Spanish ed., Fondo de Cultura Economica, Mexico, 1974. Reviewed by [[Paul J. Olscamp]] "The Philosophical Importance of С. M. Turbayne's The Myth of Metaphor." ''[[International Philosophical Quarterly]]'' 6 (1966): 110–31.<ref>[https://www.google.com/search?tbm=bks&q=Colin+Murray+Turbayne ''the Myth of Metaphor'' by Colin Murray Turbayne on Google Books]</ref>
* ''Works on Vision'' by George Berkeley, Ed. Colin Murray Turbayne (1963)<ref name="books.google.com"/>
* ''Principles, Dialogues and Philosophical Correspondence'' by George Berkeley, Ed. Colin Murray Turbayne (1965)<ref>[https://books.google.com/books?id=mivyzQEACAAJ ''Principles, Dialogues and Philosophical Correspondence''] George Berkeley, editor Colin Murray Turbayne {{ISBN|0024216003}} on Google Books</ref>
* ''Berkeley: Principles of Human Knowledge, Text and Critical Essays'' Ed. Colin Murray Turbayne (1970).<ref>[https://www.worldcat.org/title/310492990 "A Treatise Concerning the Principles of Human Knowledge. George Berkeley, Colin Murray Turbayne editor on worldcat.org]</ref> Reviewed by G. P. Conroy. ''[[Journal of the History of Philosophy]]'' 9 (1971): 510–12; J. M. Beyssade. ''Études philosophiques'' 4 (1970):523-26.
*'' Berkeley: Critical and Interpretive Essays'', Ed. Colin Murray Turbayne (1982)<ref>[https://www.google.com/search?tbm=bks&q=Colin+Murray+Turbayne ''Berkeley:Critical and Interpretive Essays'' by Colin Murray Turbayne on Google Books]</ref>
* {{cite book | last=Turbayne | first=Colin Murray | title=Metaphors for the mind : the creative mind and its origins | publisher=University of South Carolina Press | publication-place=Columbia, S.C. | date=1991 | isbn=0-87249-699-6 | oclc=21675468}}

===Journal articles===
Selected peer-reviewed articles published by Colin Murray Turbayne include:<ref>[https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=%22Colin+Murray+Turbayne%22&btnG= Colin Murray Turbayne on Google Scholar]</ref>
*"Berkeley and Russell on Space". ''Dialectica'' (1954):210-227 <ref>{{cite journal |last1=Turbayne |first1=Colin Murray |title=Berkeley and Russell on Space |journal=Dialectica |date=1954 |volume=8 |issue=3 |pages=210–227 |doi=10.1111/j.1746-8361.1954.tb01135.x |jstor=42964117 }}</ref>
*"Kant's Refutation of Dogmatic Idealism". ''The Philosophical Quarterly'' (1955):225-224<ref>{{cite journal |last1=Turbayne |first1=Colin M. |title=Kant's Refutation of Dogmatic Idealism |journal=The Philosophical Quarterly |date=July 1955 |volume=5 |issue=20 |pages=225–244 |doi=10.2307/2957436 |jstor=2957436 }}</ref>
*"The Influence of Berkeley's Science on his Metaphysics". ''[[Philosophy and Phenomenological Research]]'' (1956):476-87<ref name="ReferenceB"/>
*"Grosseteste and an Ancient Optical Principle". ''Isis'' (1959):467-72.<ref>Turbayne, Colin M. "Grosseteste and an Ancient Optical Principle", ''[[Isis (journal)|Isis]]'' 50 (1959): 467-72</ref><ref>{{cite journal | last=Turbayne | first=Colin M. | title=Grosseteste and an Ancient Optical Principle | journal=Isis | publisher=University of Chicago Press | volume=50 | issue=4 | year=1959 | issn=0021-1753 | doi=10.1086/348802 | pages=467–472| s2cid=145197542 }}</ref>
*"Berkeley's Two Concepts of Mind". ''Philosophy and Phenomenological Research''(1959):85-92<ref>{{cite journal| last=Turbayne| first=C. M.| title=Berkeley's Two Concepts of Mind| journal=[[Philosophy and Phenomenological Research]]| volume=20| issue=1| date=Sep 1959| pages=85–92| jstor=2104957| doi=10.2307/2104957}}. Repr. in {{cite book| last1=Engle| first1=Gale| last2=Taylor| first2=Gabriele| title=Berkeley's Principles of Human Knowledge: Critical Studies| location=Belmont, CA| publisher=Wadsworth| year=1968| pages=24–33}}</ref> In this collection of essays, Turbayne's work comprised two papers that had been published in ''[[Philosophy and Phenomenological Research]]'':
** "Berkeley's Two Concepts of Mind"
** {{cite journal |last1=Grave |first1=S. A. |title=A Note on Berkeley's Conception of the Mind |journal=Philosophy and Phenomenological Research |date=1962 |volume=22 |issue=4 |pages=574–576 |doi=10.2307/2105263 |jstor=2105263 }}
*"A Bibliography of George Berkeley, 1933-1962". ''The Journal of Philosophy'' (1963):93-112<ref>[{{cite journal |last1=Turbayne |first1=Colin Murray |last2=Ware |first2=Robert |title=A Bibliography of George Berkeley, 1933-1962 |journal=The Journal of Philosophy |date=1963 |volume=60 |issue=4 |pages=93–112 |doi=10.5840/jphil196360424 |jstor=2022898 }}</ref>
*"The Origin of Berkeley's Paradoxes". In Steinkraus, Warren E., ed. ''New Studies in Berkeley's Philosophy''. New York: Holt, Rinehart and Winston, 1966. Foreword by [[Brand Blanshard]]. pp. 31–42.<ref name="CtRRAQAAIAAJ pp.328">[https://books.google.com/books?id=CtRRAQAAIAAJ&dq=New+Studies+in+Berkeley%27s+Philosophy+Colin+Murray+Turbayne&pg=PA328 ''Berkeley: Critical and Interpretive Essays'' ed. Colin Murray Turbayne University of Minnesota Press, 1982 pp.328 on Google Books]</ref>
*"Visual Language From the Verbal Model". ''Journal of Typographical Research'' (1969):345-370<ref>{{cite journal |id={{ProQuest|1297964661}} |last1=Turbayne |first1=Colin Murray |title=Visual Language from the Verbal Model |journal=Journal of Typographic Research |volume=3 |issue=4 |date=October 1969 |pages=345–370 }}</ref>
*"Berkeley's Metaphysical Grammar". In Turbayne, Colin Murray. ''Berkeley, Principles ... Text and Critical Essays''(1970).pp. 3–36.<ref name="CtRRAQAAIAAJ pp.328"/>
*"Visual Language". ''ECT'' (1971):51-58<ref>{{cite journal |last1=TURBAYNE |first1=COLIN MURRAY |title=VISUAL LANGUAGE |journal=ETC |date=1971 |volume=28 |issue=1 |pages=51–58 |jstor=42574680 }}</ref>
*"A Bibliography of George Berkeley, 1963-1974" ''[[Journal of the History of Philosophy]]'' (1977):83-95.<ref>[Turbayne, С. M., and R. Appelbaum. "A Bibliography of George Berkeley, 1963-1974." ''[[Journal of the History of Philosophy]]'' 15 (1977):83-95.</ref>
*"Lending Philonous a Hand: The Berkeley, Plato, Aristotle Connection". In Turbayne, Colin Murray, ed. ''Berkeley: Critical and Interpretive Essays''. Minneapolis, 1982 pp. 295-310.
*"A Bibliography of George Berkeley 1963-1979". In Turbayne, Colin Murray, ed. ''Berkeley: Critical and Interpretive Essays''. Manchester, 1982 pp. 313–329 <ref>Turbayne C. M. [https://web.archive.org/web/20120306000532/http://su-ltd.mylivepage.ru/file/2716/6216_Turbayne_Berkeley_bibliography.doc A Bibliography of George Berkeley 1963-1979] // ''Berkeley: Critical and Interpretive Essays''. Ed. by C. M. Turbayne. Manchester, 1982. {{ISBN|978-0-8166-1065-5}} pp. 313–329.</ref>
*"Hume's influence on Berkeley". ''Revue Internationale de Philosophie'' (1985):259-269<ref>[Turbayne, Colin M. "Hume's Influence on Berkeley." ''[[Revue internationale de philosophie]]'' 154 (1985): 259-69.</ref>

==Professional affiliations==
Colin Murray Turbayne was an active member of both the [[American Philosophical Association]] as well as the [[American Association of University Professors]].<ref>{{cite journal |title=APA Membership List |journal=Proceedings and Addresses of the American Philosophical Association |date=1986 |volume=60 |issue=1 |pages=101–226 |jstor=3131628 }}</ref>

== See also ==
{{Colbegin}}
[[George Berkely]] 
[[Metaphysics]] 
[[Epistemology]] 
[[Philosophy of Language]] 
{{Colend}}
{{Colbegin}}[[Metaphor]] 
[[Mind-Body Dualism]] 
[[Naturalism (philosophy)|Naturalism]] 
[[Catachresis]]
{{Colend}}
{{Portal bar|Biography|Philosophy}}

== References ==
{{Reflist|30em}}

==External links==
* [http://www.rochester.edu/college/PHL/Berkeleywinners.html Berkeley Prize Winners]
* [https://www.jstor.org/action/doBasicSearch?Query=Colin+Murray+Turbayne Colin Murray Turbayne's publications on JSTOR.org]
* [https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=%22Colin+Murray+Turbayne%22&btnG= Colin Murray Turbayne's publications on Google Scholar]

{{Authority control}}

{{DEFAULTSORT:Turbayne, Colin Murray}}
[[Category:1916 births]]
[[Category:2006 deaths]]
[[Category:Australian emigrants to the United States]]
[[Category:University of Pennsylvania alumni]]
[[Category:University of Rochester faculty]]
[[Category:George Berkeley scholars]]
[[Category:20th-century Australian philosophers]]
[[Category:American philosophy academics]]
[[Category:Philosophy writers]]
[[Category:Theorists on Western civilization]]
[[Category:20th-century American philosophers]]
[[Category:Philosophers of history]]
[[Category:20th-century American essayists]]
[[Category:Philosophers from New York (state)]]
[[Category:Fellows of the National Endowment for the Humanities]]

Colin Murray Turbayne

2024-11-13T00:08:39Z

160.72.80.178: /* Academic works */ ''Included an additional reference citation from the ''Stanford Encyclopedia of Philosophy"~~~~NHPL

{{Short description|Australian philosopher (1916–2006)}}
{{Use dmy dates|date=January 2017}}
{{Use Australian English|date=January 2017}}
{{Infobox philosopher
|region = [[Western philosophy]]
|era = [[Contemporary philosophy]]
|image =
|alt =
|caption =
|name = Colin Murray Turbayne
|birth_date = {{Birth date|1916|2|7|df=yes}}
|birth_place = [[Tannymorel]] {{Flag|Australia}}
|death_date = {{Death date and age|df=yes|2006|5|16|1916|2|7}}
|death_place = [[Queensland]], Australia<ref>Paul J. Olscamp. [https://berkeleystudies.philosophy.fsu.edu/sites/g/files/upcbnu886/files/BS%20017%202006%20Turbayne%20Obit.pdf In Memoriam]: Colin Murray Turbayne – [https://web.archive.org/web/20101110022554/http://people.hsc.edu/berkeleystudies/pastissues.php ''Berkeley Newsletter''] No. 17 (2006): pp. 5–6.</ref>
|school_tradition =
|main_interests = [[George Berkeley]]'s philosophy, [[Epistemology]], [[Metaphysics]], [[Metaphor]], [[Language]]
|notable_ideas = ''The Myth of Metaphor''
|influences =
|influenced =
|signature =
|signature_alt =
|awards = [[Guggenheim Fellowship]],<ref>[https://www.gf.org/fellows/colin-m-turbayne/ Colin M. Tyrbayne: Guggenheim Fellowship 1965 on gf.org]</ref> [[National Endowment for the Humanities]] Grant <ref>[https://apps.neh.gov/publicquery/main.aspx?q=1&a=0&n=1&ln=Turbayne&fn=Colin&o=0&ot=0&k=0&f=0&s=1&sv=NY&cd=0&p=0&d=0&at=0&y=0&prd=0&cov=0&prz=0&wp=0&sp=0&ca=0&arp=0&ob=year&or=DESC Colin Murrray Turbayne National Endowment for the Humanities grant 1979 on neh.gov]</ref>
}}

'''Colin Murray Turbayne''' (7 February 1916 – 16 May 2006) was an Australian philosopher and an internationally recognized authority on the writings of [[George Berkeley]]. He spent most of his thirty five year academic career at the [[University of Rochester]] and was noted as the author of the book ''The Myth of Metaphor''.

==Biography==
===Early life===
Turbayne was born on February 7, 1916, in the rural town of [[Tannymorel]] in [[Queensland]], Australia.<ref name="books.google.com">[https://books.google.com/books?id=DsKvAwAAQBAJ&dq=Colin+Murray+Turbayne&pg=PA2451 ''Dictionary of Modern American Philosophers'' Shook, John. 2005 Biography of Colin Murray Turbayne on Google Books]</ref> His father, David Livingston Turbayne, was a banker and his mother, Alice Eva Rene Lahey, was descended from an early pioneer family in Queensland.

Colin received his earliest education at the Church of England Grammar School in Brisbane, where he distinguished himself as both a cricketer and Head Prefect. He completed his Bachelor of Arts degree at the [[University of Queensland]] in Brisbane, Australia in 1940 as well as an MA degree in 1946. During World War II he worked for Australian Intelligence in the Pacific War theatre and served as chief of staff for Australian intelligence to [[Douglas MacArthur]] in several pacific theatres.<ref name="books.google.com"/><ref name="berkeleystudies.philosophy.fsu.edu">[https://berkeleystudies.philosophy.fsu.edu/sites/g/files/upcbnu886/files/BS%20017%202006%20Turbayne%20Obit.pdf ''In Memorium: Colin Murray Turbayne'' Paul J. Olscamp - President Emeritus Bowing Green State University "Berkely Newsletter" on berkelystudies.philosophy.fsu]</ref>

In 1940 he married Ailsa Krimmer and subsequently raised a family of two boys: Ron and John. They remained happily married for fifty-one years until her death in 1992.<ref name="ReferenceA">[https://berkeleystudies.philosophy.fsu.edu/sites/g/files/upcbnu886/files/BS%20017%202006%20Turbayne%20Obit.pdf ''In Memorium: Colin Murray Turbayne'' Paul J. Olscamp - President Emeritus Bowling Green State University "Berkely Newsletter" on berkelystudies.philosophy.fsu]</ref>

===Academic studies===
After emigrating to the United States following the conclusion of World War II in 1947, he undertook graduate studies at the University of Pennsylvania. In 1950 he earned both his MA and PhD degrees in philosophy from the University of Pennsylvania.<ref name="books.google.com"/>

[[Image:URRushRhees.jpg|thumb|upright=.95|right|The Rush Rhees Library at University of Rochester]]
His PhD. dissertation at the University of Pennsylvania ''Constructions Versus Inferences in the Philosophy of Bertrand Russell'' focused on the philosophical works of the British philosopher and [[logician]] [[Bertrand Russell]] (1950).<ref name="books.google.com"/> His MA dissertation at the University of Queensland focused on ''Berkeley's philosophy as embodied in his Commonplace book''(1947).<ref>[https://www.worldcat.org/search?q=su%3a%22Academic%20theses%22+AND+kw%3a%22Turbayne,%20Colin%20Murray%22 Colin Murray Turbayne - academic thesis on worldcat.org]</ref>

Following the completion of his advanced studies, Turbayne acquired his first academic post as an assistant professor of philosophy at the [[University of Washington]]. He remained on the faculty from 1950 until 1955. Subsequently, he served as an assistant professor of speech at the [[University of California at Berkley]] from 1955 until 1957. Soon thereafter, he was appointed as an associate professor of philosophy at the [[University of Rochester]] in 1957. A short time later in 1962, he was promoted to Full Professor of Philosophy and continued to teach at the University of Rochester until his appointment to professor emeritus in 1981.<ref name="books.google.com"/>

===Academic works===
In addition to serving as a lecturer, Turbayne was a noted authority and researcher on the philosophical insights of [[George Berkeley]]. Over the years, he edited several of Berkeley's works and essays, while helping to sustain interest in Berkeley's works during the mid twentieth century.<ref name="books.google.com"/> In addition, he was the first commentator to recognize the central importance of [[metaphor]] in the philosophy of Berkeley.<ref>Murphy, Jeffrie G. "Berkeley and the Metaphor of Mental Substance." ''[[Ratio (journal)|Ratio]]'' 7 (1965):171, note 3.</ref> He is best known for his book ''The Myth of Metaphor-'' which was published in 1962 by Yale University Press.<ref name="ReferenceB">[https://books.google.com/books?id=DsKvAwAAQBAJ&dq=Colin+Murray+Turbayne&pg=PA2451 ''Dictionary of Modern American Philosophers'' Shook, John. 2005 Biography of Colin Murray Turbayne on Google Books]</ref> A critical reviewer described the work as a "welcome addition to the analysis of metaphorical language".<ref name=Hesse1966>{{cite journal |last1=Hesse |first1=Mary |title=Review of The Myth of Metaphor |journal=Foundations of Language |date=1966 |volume=2 |issue=3 |pages=282–284 |jstor=25000234 }}</ref>

In his book, Turbayne argues that metaphor would necessarily occur in any language that could ever claim to embody richness and depth of understanding.<ref>Murphy, Jeffrie G. "Berkeley and the Metaphor of Mental Substance." ''[[Ratio (journal)|Ratio]]'' 7 (1965):176.</ref> In addition, he provides a critical analysis of the simplistic [[Cartesianism|Cartesian]] and [[Newtonianism|Newtonian]] depictions of the universe as little more than a "machine" - a concept which underlies much of the scientific [[materialism]] which prevails in the modern Western world.<ref name=Hesse1966/> He also provides evidence that the philosophical concept of "material [[substance theory|substance]]" or "[[Stratum (linguistics)#Substratum|substratum]]" has limited meaning at best and that modern man has unknowingly fallen victim to an unnecessary literal interpretation of one of many potentially beneficial metaphorical models of the universe.<ref>[http://www.sas.rochester.edu/phl/about/prize.html The University of Rochester Department of Philosophy- Berkley Essay Prize Competition - History of the Prize Colin Turbayne's ''The Myth of Metaphor'' on rochester.edu]</ref><ref>[https://www.theculturium.com/greg-goode-colin-turbayne-and-the-myth-of-metaphor/ ''The Culturium'' - "Greg Goode Colin Turbayne and the Myth of Metaphor" January 15,2017 on theculturium.com]</ref><ref name="ReferenceC">[https://books.google.com/books?id=DsKvAwAAQBAJ&dq=Colin+Murray+Turbayne&pg=PA2451 ''Dictionary of Modern American Philosophers'' Shook, John. 2005 p. 2451 Biography of Colin Murray Turbayne on Google Books]</ref><ref name=Hesse1966/><ref>[https://plato.stanford.edu/entries/metaphor/#MetaMakeBeli "Stanford Encyclopedia of Philosophy: Metaphor" Stanford University, August 19, 2011 Revised August 12, 2022 "Section 5. Recent Developments 5.3 Metaphor and Make Believe" ISSN 1095-5054. Colin Turbayne's "The Myth of Metaphor" and ''"It is easy to loose sight of metaphorical pretense. We may mistake the model for a real instance of what it models...take literally what was originally mean metaphorically. ...Berkeley and his mechanist rivals...set out to offer metaphors but end up propounding theories; they lost track of their own "as ifs" and became victims of their own insights"'' on plato.stanford.edu]</ref>

Another central theme of ''The Myth of Metaphor'' is Turbayne's analysis of Berkelely's theory of vision and his theory of space as compared to Newtonian mechanics. Through careful analysis, Turbayne demonstrates that Berkeley's "language metaphor" provides a more convincing explanation of various natural phenomena including: the Barrovian case, the case of the horizontal moon and the case of the inverted retinal image.<ref name="berkeleystudies.philosophy.fsu.edu"/>
Turbayne also provides a detailed review of Berkeley's effort to dispel the confusing use of metaphorical language in the description of the mind and in the description of ideas in general through the misuse of hypotheses which were initially developed to explain such occurrences in the physical world.<ref name="ReferenceC"/> As a result, Turbayne has been described as one of the leading interpreters of Berkeley's theories of vision and relative motion as well as Berkeley's relationship to both Kant and Hume.<ref name="berkeleystudies.philosophy.fsu.edu"/><ref>[https://contentdm.carleton.edu/digital/collection/CarlMisc/id/6551 ''The Carleton Miscellany'', 1965 Spring, Carleton College pp. 94-101 Critical Review of ''The Myth of Metaphor'' by Colin Murray Turbayne on Carleton Digital Collections at carleton.edu]</ref>

In his final book ''Metaphors for the Mind: The Creative Mind and Its Origins'' (1990), Turbayne illustrates the manner in which historical traditions in philosophical thought have contributed to accepted modern theories of human thought in general and theories of language in particular.<ref>[http://www.sas.rochester.edu/phl/about/prize.html The University of Rochester Department of Philosophy- Berkley Essay Prize Competition - History of the Prize Colin Turbayne's ''Metaphors for the Mind: The Creative Mind and Its Origins'' on rochester.edu]</ref> Turbayne provides an in depth review of the early philosophical writings of both Plato and Aristotle, while illustrating the manner in which Platonic metaphors have influenced the works of both Berkeley and [[Immanuel Kant]].<ref name=Turbayne1991>{{cite book | last=Turbayne | first=Colin Murray | title=Metaphors for the mind : the creative mind and its origins | publisher=University of South Carolina Press | publication-place=Columbia, S.C. | date=1991 | isbn=0-87249-699-6 | oclc=21675468}}</ref><ref name=Bracken1994>{{cite journal | last=Bracken | first=Harry M. | title=Colin Murray Turbayne., Metaphors for the Mind: The Creative Mind and Its Origins | journal=International Studies in Philosophy | publisher=Philosophy Documentation Center | volume=26 | issue=2 | year=1994 | issn=0270-5664 | doi=10.5840/intstudphil1994262171 | pages=151}}</ref> In addition, he demonstrates the manner in which Plato's procreation model as outlined within his ''[[Timaeus (dialogue)|Timeus]]'' has influenced modern theories of thought and language. He concludes by attempting to restore the original model which describes a mind in which both the female and male hemispheres function in concert to participate in the act of creation.<ref name=Turbayne1991 /><ref name=Bracken1994 /> A critical reviewer of the book noted that it contains interesting material which is likely to both provoke and surprise its readers.<ref name=Bracken1994 /> In addition, it has been described as presenting a contribution to the modern philosophical debate concerning [[relativism]] and [[philosophical realism]].<ref name=Turbayne1991 />

{{ external media|width=125px|image1=Photograph of Colin M. Turbayne in his memoriam by [[Paul J. Olscamp]] [https://berkeleystudies.philosophy.fsu.edu/sites/g/files/upcbnu886/files/BS%20017%202006%20Turbayne%20Obit.pdf '''Here on fsu.edu'''] |image2=Photograph of Colin Murray Turbayne at the University of Rochester in 1965 [https://www.gf.org/fellows/colin-m-turbayne/ '''Here on gf.org''']}}

Turbayne has been described as being convinced of [[Phenomenalism]], as well as being skeptical of the validity of [[Materialism]].<ref name="ReferenceC"/> In addition, he has been cited as supporting the view that metaphors are properly characterized as "categorical mistakes" which may lead an unsuspecting user to considerable obfuscation of thought.<ref name="ReferenceC"/><ref>[https://plato.stanford.edu/entries/metaphor/#MetaMakeBeli "Stanford Encyclopedia of Philosophy: Metaphor" Stanford University. August 19, 2011 Revised August 12, 2022. "Section 5 Recent Developments - 5.3 Metaphor and Make Believe." ISSN 1095-5054. Colin Turbayne's "The Myth of Metaphor" and ''"It is easy to loose sight of metaphorical pretense. We may mistake the model for a real instance of what it models...take literally what was originally mean metaphorically. ...Berkeley and his mechanist rivals...set out to offer metaphors but end up propounding theories; they lost track of their own "as ifs" and became victims of their own insights"'' on plato.stanford.edu]</ref>

In the early 1990s Colin M. Turbayne and his wife established an International Berkeley Essay Prize competition in cooperation with the Philosophy Department at the University of Rochester in order to encourage continued research into Berkeley's works by aspiring young scholars.<ref>[http://www.rochester.edu/college/PHL/prize.html Colin and Ailsa Turbayne International Berkeley Essay Prize Competition]</ref>

Notable students of Colin Murray Turbayne include: [[Paul J. Olscamp]] - President Emeritus Bowling Green State University & Western Washington University.<ref name="berkeleystudies.philosophy.fsu.edu"/>

===Honours===
During his long academic career Turbayne was a noted [[Fulbright Fellow]] as well as the recipient of a Guggenheim Fellowship in 1965<ref>[https://www.gf.org/fellows/colin-m-turbayne/ John Simon Guggenheim Memorial Foundation: Colin M. Turbayne on www.gf.org]</ref><ref name="ReferenceD">[https://berkeleystudies.philosophy.fsu.edu/sites/g/files/upcbnu886/files/BS%20017%202006%20Turbayne%20Obit.pdf ''In Memorium: Colin Murray Turbayne'' Paul J. Olscamp "Berkely Newsletter" on berkelystudies.philosophy.fsu]</ref> In 1959 and 1966 he was the recipient of grants from the [[American Council of Learned Societies]] for his contributions to their project on the linguistic structure of the mind.<ref>[https://www.acls.org/fellow-grantees/colin-murray-turbayne/ The American Council of Learned Societies - Colin Murray Turbayne ACLS Grants 1959, 1966 on acls.org]</ref> In 1979 he was honored as a senior fellow by the [[National Endowment for the Humanities]] (NEH).<ref>[https://securegrants.neh.gov/publicquery/main.aspx?q=1&a=0&n=1&ln=Turbayne&fn=Colin&o=0&ot=0&k=0&f=0&s=1&sv=NY&cd=0&p=0&d=0&at=0&y=0&prd=0&cov=0&prz=0&wp=0&sp=0&ca=0&arp=0&ob=year&or=DESC National Endowment for the Humanities - Grants to Colin Murray Turbayne in 1979 on neh.gov]</ref><ref name="ReferenceD"/> In addition, he was the recipient of an Honorary Doctorate in Humane Letters at [[Bowling Green State University]].<ref name="ReferenceA"/> He was cited in Marquis' ''Who's Who in the World, 1982-1983.''<ref>[https://books.google.com/books?id=x0gbAQAAMAAJ&q=Marquis+Who%27s+Who+Colin+Murray+Turbayne "Marquis Who's Who Colin Murray Turbayne" p. 1085 on Google books]</ref> as well as ''Who was Who in America'' in 2010.<ref>[https://books.google.com/books?id=73AwAQAAMAAJ&q=Marquis+Who%27s+Who+Colin+Murray+Turbayne "Who was Who in America Colin Murray Turbayne" p. 311 on Google Books]</ref>

Turbayne's philosophical lectures at the University of Rochester were often punctuated with illustrative re-enactments of scenes from Shakespearian drama to illustrate his arguments. It was not at all unusual for him to appear before his students at lectures dressed in cloak and dagger quoting the moving scene from ''MacBeth'': "Is this a dagger that I see before me..?" in order to illustrate the use of metaphor. He was considered a master Socratic interrogator who gently guided his students to the proper conclusion. He was also noted for his skillful use of the ''[[reductio ad absurdum]]'' in his lectures. Standing ovations from his grateful students were commonplace throughout his long tenure at the university.<ref name="ReferenceA"/>

===Death===
Colin Murray Turbayne died on May 16, 2006, in Queensland, Australia at the age of 90. He was survived by his two sons and two grandchilden.<ref name="ReferenceA"/>

==Publications==
{{External media |width=200px|video1=You may read selected publications by Colin Murray Turbayne [https://archive.org/search.php?query=Colin+Murray+Turbayne&sin= '''Here on Archive.org''']|video2=You may read Turbayne's "Berkeley's Two Concepts of Mind" (1959) {{cite journal |last1=Turbayne |first1=Colin Murray |title=Berkeley's Two Concepts of Mind |journal=Philosophy and Phenomenological Research |date=1959 |volume=20 |issue=1 |pages=85–92 |doi=10.2307/2104957 |jstor=2104957 }} }}

===Texts===
Included among Colin Murray Turbayne's publications are the following texts:<ref>[https://www.google.com/search?tbm=bks&q=Colin+Murray+Turbayne Colin Murray Turbayne on Google Books]</ref>
* ''Three Dialogues between Hylas and Philonous'' by George Berkeley, Editor Colin Murray Turbayne (1954)<ref name="ReferenceB"/>
* ''A Treatise Concerning the Principles of Human Knowledge'' by George Berkeley, Editor Colin Murray Turbayne (1957) <ref name="books.google.com"/>
*''The Myth of Metaphor'' by Colin Murray Turbayne, with forewords by Morse Peckham and Foster Tait and appendix by Rolf Eberle. Columbia, S. C: University of South Carolina Press, 1970. Rev. of 1962 ed. Spanish ed., Fondo de Cultura Economica, Mexico, 1974. Reviewed by [[Paul J. Olscamp]] "The Philosophical Importance of С. M. Turbayne's The Myth of Metaphor." ''[[International Philosophical Quarterly]]'' 6 (1966): 110–31.<ref>[https://www.google.com/search?tbm=bks&q=Colin+Murray+Turbayne ''the Myth of Metaphor'' by Colin Murray Turbayne on Google Books]</ref>
* ''Works on Vision'' by George Berkeley, Ed. Colin Murray Turbayne (1963)<ref name="books.google.com"/>
* ''Principles, Dialogues and Philosophical Correspondence'' by George Berkeley, Ed. Colin Murray Turbayne (1965)<ref>[https://books.google.com/books?id=mivyzQEACAAJ ''Principles, Dialogues and Philosophical Correspondence''] George Berkeley, editor Colin Murray Turbayne {{ISBN|0024216003}} on Google Books</ref>
* ''Berkeley: Principles of Human Knowledge, Text and Critical Essays'' Ed. Colin Murray Turbayne (1970).<ref>[https://www.worldcat.org/title/310492990 "A Treatise Concerning the Principles of Human Knowledge. George Berkeley, Colin Murray Turbayne editor on worldcat.org]</ref> Reviewed by G. P. Conroy. ''[[Journal of the History of Philosophy]]'' 9 (1971): 510–12; J. M. Beyssade. ''Études philosophiques'' 4 (1970):523-26.
*'' Berkeley: Critical and Interpretive Essays'', Ed. Colin Murray Turbayne (1982)<ref>[https://www.google.com/search?tbm=bks&q=Colin+Murray+Turbayne ''Berkeley:Critical and Interpretive Essays'' by Colin Murray Turbayne on Google Books]</ref>
* {{cite book | last=Turbayne | first=Colin Murray | title=Metaphors for the mind : the creative mind and its origins | publisher=University of South Carolina Press | publication-place=Columbia, S.C. | date=1991 | isbn=0-87249-699-6 | oclc=21675468}}

===Journal articles===
Selected peer-reviewed articles published by Colin Murray Turbayne include:<ref>[https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=%22Colin+Murray+Turbayne%22&btnG= Colin Murray Turbayne on Google Scholar]</ref>
*"Berkeley and Russell on Space". ''Dialectica'' (1954):210-227 <ref>{{cite journal |last1=Turbayne |first1=Colin Murray |title=Berkeley and Russell on Space |journal=Dialectica |date=1954 |volume=8 |issue=3 |pages=210–227 |doi=10.1111/j.1746-8361.1954.tb01135.x |jstor=42964117 }}</ref>
*"Kant's Refutation of Dogmatic Idealism". ''The Philosophical Quarterly'' (1955):225-224<ref>{{cite journal |last1=Turbayne |first1=Colin M. |title=Kant's Refutation of Dogmatic Idealism |journal=The Philosophical Quarterly |date=July 1955 |volume=5 |issue=20 |pages=225–244 |doi=10.2307/2957436 |jstor=2957436 }}</ref>
*"The Influence of Berkeley's Science on his Metaphysics". ''[[Philosophy and Phenomenological Research]]'' (1956):476-87<ref name="ReferenceB"/>
*"Grosseteste and an Ancient Optical Principle". ''Isis'' (1959):467-72.<ref>Turbayne, Colin M. "Grosseteste and an Ancient Optical Principle", ''[[Isis (journal)|Isis]]'' 50 (1959): 467-72</ref><ref>{{cite journal | last=Turbayne | first=Colin M. | title=Grosseteste and an Ancient Optical Principle | journal=Isis | publisher=University of Chicago Press | volume=50 | issue=4 | year=1959 | issn=0021-1753 | doi=10.1086/348802 | pages=467–472| s2cid=145197542 }}</ref>
*"Berkeley's Two Concepts of Mind". ''Philosophy and Phenomenological Research''(1959):85-92<ref>{{cite journal| last=Turbayne| first=C. M.| title=Berkeley's Two Concepts of Mind| journal=[[Philosophy and Phenomenological Research]]| volume=20| issue=1| date=Sep 1959| pages=85–92| jstor=2104957| doi=10.2307/2104957}}. Repr. in {{cite book| last1=Engle| first1=Gale| last2=Taylor| first2=Gabriele| title=Berkeley's Principles of Human Knowledge: Critical Studies| location=Belmont, CA| publisher=Wadsworth| year=1968| pages=24–33}}</ref> In this collection of essays, Turbayne's work comprised two papers that had been published in ''[[Philosophy and Phenomenological Research]]'':
** "Berkeley's Two Concepts of Mind"
** {{cite journal |last1=Grave |first1=S. A. |title=A Note on Berkeley's Conception of the Mind |journal=Philosophy and Phenomenological Research |date=1962 |volume=22 |issue=4 |pages=574–576 |doi=10.2307/2105263 |jstor=2105263 }}
*"A Bibliography of George Berkeley, 1933-1962". ''The Journal of Philosophy'' (1963):93-112<ref>[{{cite journal |last1=Turbayne |first1=Colin Murray |last2=Ware |first2=Robert |title=A Bibliography of George Berkeley, 1933-1962 |journal=The Journal of Philosophy |date=1963 |volume=60 |issue=4 |pages=93–112 |doi=10.5840/jphil196360424 |jstor=2022898 }}</ref>
*"The Origin of Berkeley's Paradoxes". In Steinkraus, Warren E., ed. ''New Studies in Berkeley's Philosophy''. New York: Holt, Rinehart and Winston, 1966. Foreword by [[Brand Blanshard]]. pp. 31–42.<ref name="CtRRAQAAIAAJ pp.328">[https://books.google.com/books?id=CtRRAQAAIAAJ&dq=New+Studies+in+Berkeley%27s+Philosophy+Colin+Murray+Turbayne&pg=PA328 ''Berkeley: Critical and Interpretive Essays'' ed. Colin Murray Turbayne University of Minnesota Press, 1982 pp.328 on Google Books]</ref>
*"Visual Language From the Verbal Model". ''Journal of Typographical Research'' (1969):345-370<ref>{{cite journal |id={{ProQuest|1297964661}} |last1=Turbayne |first1=Colin Murray |title=Visual Language from the Verbal Model |journal=Journal of Typographic Research |volume=3 |issue=4 |date=October 1969 |pages=345–370 }}</ref>
*"Berkeley's Metaphysical Grammar". In Turbayne, Colin Murray. ''Berkeley, Principles ... Text and Critical Essays''(1970).pp. 3–36.<ref name="CtRRAQAAIAAJ pp.328"/>
*"Visual Language". ''ECT'' (1971):51-58<ref>{{cite journal |last1=TURBAYNE |first1=COLIN MURRAY |title=VISUAL LANGUAGE |journal=ETC |date=1971 |volume=28 |issue=1 |pages=51–58 |jstor=42574680 }}</ref>
*"A Bibliography of George Berkeley, 1963-1974" ''[[Journal of the History of Philosophy]]'' (1977):83-95.<ref>[Turbayne, С. M., and R. Appelbaum. "A Bibliography of George Berkeley, 1963-1974." ''[[Journal of the History of Philosophy]]'' 15 (1977):83-95.</ref>
*"Lending Philonous a Hand: The Berkeley, Plato, Aristotle Connection". In Turbayne, Colin Murray, ed. ''Berkeley: Critical and Interpretive Essays''. Minneapolis, 1982 pp. 295-310.
*"A Bibliography of George Berkeley 1963-1979". In Turbayne, Colin Murray, ed. ''Berkeley: Critical and Interpretive Essays''. Manchester, 1982 pp. 313–329 <ref>Turbayne C. M. [https://web.archive.org/web/20120306000532/http://su-ltd.mylivepage.ru/file/2716/6216_Turbayne_Berkeley_bibliography.doc A Bibliography of George Berkeley 1963-1979] // ''Berkeley: Critical and Interpretive Essays''. Ed. by C. M. Turbayne. Manchester, 1982. {{ISBN|978-0-8166-1065-5}} pp. 313–329.</ref>
*"Hume's influence on Berkeley". ''Revue Internationale de Philosophie'' (1985):259-269<ref>[Turbayne, Colin M. "Hume's Influence on Berkeley." ''[[Revue internationale de philosophie]]'' 154 (1985): 259-69.</ref>

==Professional affiliations==
Colin Murray Turbayne was an active member of both the [[American Philosophical Association]] as well as the [[American Association of University Professors]].<ref>{{cite journal |title=APA Membership List |journal=Proceedings and Addresses of the American Philosophical Association |date=1986 |volume=60 |issue=1 |pages=101–226 |jstor=3131628 }}</ref>

== See also ==
{{Colbegin}}
[[George Berkely]] 
[[Metaphysics]] 
[[Epistemology]] 
[[Philosophy of Language]] 
{{Colend}}
{{Colbegin}}[[Metaphor]] 
[[Mind-Body Dualism]] 
[[Naturalism (philosophy)|Naturalism]] 
[[Catachresis]]
{{Colend}}
{{Portal bar|Biography|Philosophy}}

== References ==
{{Reflist|30em}}

==External links==
* [http://www.rochester.edu/college/PHL/Berkeleywinners.html Berkeley Prize Winners]
* [https://www.jstor.org/action/doBasicSearch?Query=Colin+Murray+Turbayne Colin Murray Turbayne's publications on JSTOR.org]
* [https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=%22Colin+Murray+Turbayne%22&btnG= Colin Murray Turbayne's publications on Google Scholar]

{{Authority control}}

{{DEFAULTSORT:Turbayne, Colin Murray}}
[[Category:1916 births]]
[[Category:2006 deaths]]
[[Category:Australian emigrants to the United States]]
[[Category:University of Pennsylvania alumni]]
[[Category:University of Rochester faculty]]
[[Category:George Berkeley scholars]]
[[Category:20th-century Australian philosophers]]
[[Category:American philosophy academics]]
[[Category:Philosophy writers]]
[[Category:Theorists on Western civilization]]
[[Category:20th-century American philosophers]]
[[Category:Philosophers of history]]
[[Category:20th-century American essayists]]
[[Category:Philosophers from New York (state)]]
[[Category:Fellows of the National Endowment for the Humanities]]

Lewis White Beck

2024-11-06T23:07:17Z

160.72.80.178: /* External links */ ''Included External Link to Kantian Review''~~~~NHPL

{{Short description|American philosopher (1913–1997)}}
{{Use American English|date=September 2024}}
{{Use mdy dates|date=September 2024}}
{{Infobox philosopher
| region = [[German idealism]]
| era = [[Western philosophy]]
| image =
| alt =
| caption =
| name = Lewis White Beck
|birth_date = {{Birth date|1913|9|26}}
| birth_place =
|death_date = {{Death date and age|1997|6|7|1913|9|26}}
| death_place = [[Rochester, New York|Rochester]], New York
| school_tradition =
| main_interests = [[Immanuel Kant]] [[Moral philosophy]]
| notable_ideas =
| influences =
| influenced =
| signature =
| signature_alt =
| awards = [[American Academy of Arts and Sciences]] Fellowship [[American Council of Learned Societies]] Fellowship [[Guggenheim Fellow]] [[Rosenwald Fund]] Fellowship
}}
'''Lewis White Beck''' (September 26, 1913 – June 7, 1997) was an American philosopher and scholar of [[German philosophy]] specializing in [[German idealism]]. Beck was Burbank Professor of Intellectual and Moral Philosophy at the [[University of Rochester]] and served as the Philosophy Department chair there from 1949 to 1966. He translated several of [[Immanuel Kant]]'s works, such as the ''[[Critique of Practical Reason]]'', and was the author of ''Studies in the Philosophy of Kant'' (1965).

==Biography==
Born in [[Griffin, Georgia]], Beck was the youngest of four children in a family raised by Erasmus W. Beck and Ann H. Beck. His siblings included: Evelyn H. Beck , Edwin H. Beck and Sarah A Beck. His father was employed as both an engineer and a sales representative.<ref name="Hull2013">{{cite book | last=Hull | first=Richard T. | title=American Philosophical Association Centennial Series: Presidential Addresses of The American Philosophical Association 1981–1990 | chapter=Biography: Lewis White Beck | publisher=Philosophy Documentation Center | date=2013 | doi=10.5840/apapa2013217 | pages=69–71}}</ref>

Beck received his bachelor's degree Phi Beta Kappa from [[Emory University]] in 1934, his master's degree from [[Duke University]] in 1935, and his doctoral degree from Duke University in 1937. His dissertation was entitled: "Synopsis: A Study in the Theory of Knowledge.<ref name="Hull2013"/>

===Academic career===
{{External media |width=150px|image1= You may see Lewis White Beck lecturing at Emmory University in 1938 [https://dlg.usg.edu/record/geusc_170msbcck2-cor_56341ns2h1-cor?canvas=0&x=5301&y=4614&w=7836 '''Here on usg.edu'''] |image2= Lewis White Beck at the University of Rochester [https://archive.org/details/essaysbylewiswhi0000beck/page/n5/mode/2up '''Here on archive.org''']}}
Before moving to Rochester, Beck was an international student and a [[Rosenwald Fund]] Fellow at the [[University of Berlin]] (1937–38; an interview about his experiences there appeared in ''[[Atlanta Constitution|The Atlanta Constitution]]'', September 18, 1938),<ref>[https://ajc.newspapers.com/search/?date=1938-09-18&keyword=Lewis+Beck The Atlanta Constitution. September 18, 1938 p. 44 Lewis Beck on Atlanta Journal Constitution Archive at ajc.newspapers.com]</ref> an instructor at [[Emory University]] (1938–41),<ref>[https://ajc.newspapers.com/search/?keyword=%22Lewis+White+Beck%22+ The Atlanta Constitution. July 25, 1941 p. 25 Lewis White Beck on The Atlanta Journal Constitution Archive at ajc.newspapers.com]</ref> Associate Professor of Philosophy at the [[University of Delaware]] (1941–48),<ref name="UDelLSCR">{{cite web | title=Collection: Lewis White Beck manuscripts of Immanuel Kant's Critique of Practical Reason and Other Writings in Moral Philosophy | website= University of Delaware Library Special Collections Repository | date=September 26, 1913 | url=https://findingaids.lib.udel.edu/repositories/2/resources/908 }}</ref> and associate professor at [[Lehigh University]] (1946–48), eventually becoming professor (1948–49).<ref name="Meerbote1997">{{cite journal | last=Meerbote | first=Ralf | title=Lewis White Beck (1913–1997) | journal=Kantian Review | volume=1 |year=1997 | issn=1369-4154 | doi=10.1017/S1369415400000145 | pages=186–187}}</ref>

Beck joined the faculty at the University or Rochester in 1949 and served as Chairman of its Department of Philosophy from 1949 to 1966. He also served as Associate Dean of the Graduate School (1952-1956) as well as the Dean of the Graduate School (1956–1957) where he helped to raise international recognition for the PhD. program in Philosophy.<ref name="RCL2022">{{cite web | first = Vincent | last = Tanzi | title=Leafing Through Lewis White Beck's Career and Mind | website=River Campus Libraries | date=September 29, 2022 | url=https://www.library.rochester.edu/rbscp/blog/leafing-through-lewis-white-becks-career-and-mind}}</ref> During this time he was awarded a [[Guggenheim Fellow]]ship in the field of Philosophy (1957).<ref name="JSGMF">{{cite web | title=Lewis W. Beck – John Simon Guggenheim Memorial Foundation| website=John Simon Guggenheim Memorial Foundation | url=https://www.gf.org/fellows/lewis-w-beck/ }}</ref> In 1970 he collaborated with the Kantian scholar Gottfried Martin at the [[University of Bonn]] to organize the first International Kant Congress to be hosted in the United States and helped to established an enduring close collaboration between Kantian scholars in both Germany and America.<ref>[https://www.degruyter.com/document/doi/10.1515/kant.1997.88.4.385/html?lang=en "Lewis White Beck in memoriam". Seebohm, Thomas M. Kant-Studien 88. Jahrg., S. 38 1997 Lewis White Beck Memoriam on Google]</ref><ref>[https://www.jstor.org/stable/2106957?seq=1 "Proceedings of the Third International Kant Congress" Beck, Lewis White.''Philosophy and Phenomenological Research'' Vol. 33, No. 3 (Mar., 1973), pp. 429–431 Lewis White Beck North American Kant Society on Google]</ref>

In 1962 he was appointed as the Burbank Professor of Moral and Intellectual Philosophy and subsequently Professor Emeritus in 1979.<ref name="Hull2013"/><ref name="Meerbote1997"/> In 1962 he became the first recipient of the University's Edward Peck Curtis Award for Excellence in Undergraduate Teaching.<ref name="RCL2022"/> He was subsequently elected a Fellow of the [[American Academy of Arts and Sciences]] in 1963 and the [[American Council of Learned Societies]] in 1964.<ref name=AAAS>{{cite web|title=Book of Members, 1780–2010:ChapterB|url=http://www.amacad.org/publications/BookofMembers/ChapterB.pdf|publisher=American Academy of Arts and Sciences|accessdate=May 29, 2011}}</ref><ref name="Meerbote1997"/><ref name="ACLS20220322">{{cite web | title=ACLS Fellowships Program 1964 Lewis White Beck Project: "A History of German Philosophy, from the Beginnings to Recent Times" | website=American Council Of Learned Societies| date=March 22, 2022 | url=https://www.acls.org/fellow-grantees/lewis-w-beck/}}</ref><ref name="AAAS20230210">{{cite web | title=Lewis White Beck | website=American Academy of Arts & Sciences | date=February 10, 2023 | url=https://www.amacad.org/person/lewis-white-beck }}</ref> From 1970 to 1975, Beck also served on the [[National Endowment for the Humanities]] Council.<ref name="UR19970612">{{cite web | title=Philosopher, Scholar Lewis White Beck Dies | website=University of Rochester | date=June 12, 1997 | url=https://www.rochester.edu/news/printable.php?id=1330}}</ref> During this time he also served as a member of the board of directors for the American Academy of Arts and Sciences (1970–1978).<ref name="UR19970612"/>

During the course of his long academic career, Beck also held appointments as a visiting lecturer at several leading academic research centers including: [[Columbia University]] (1950), [[George Washington University]], the [[University of Minnesota]] (1953), the [[University of California at Berkeley]] (1973), [[Yale University]] (1974) and the [[Rochester Institute of Technology]] (1982–1983). In addition, he received honorary degrees from [[Hamilton College]], Emory University and the [[University of Tubingen]].<ref name="Meerbote1997"/><ref name="Hull2013"/>

In addition to his teaching activities, Beck also served on the editorial board of several leading philosophical research journals including: the ''[[Journal of the History of Ideas]]'' and ''[[Kant Studies|Kantian-Studien]]''. Over the years he also served on the editorial board of the journal ''[[The Monist]]'' which also featured his work.<ref>[https://www.jstor.org/stable/2104455 Philosophy and Phenomenological Research. "Recent Publications" Vol 22, No. 3 (March 1962) pp. 443–447 "The Monist – editor Lewis White Beck" on jstor.org]</ref><ref>[https://www.jstor.org/journal/themonist The Monist publisher of works by Lewis White Beck on JSTOR.org]</ref><ref>[https://academic.oup.com/monist/article-abstract/53/4/523/1002243?redirectedFrom=fulltext The Monist "Introduction and Bibliography" Lewis White Beck. Volume 53, issue 4, 1 October 1969 p. 523-531 Lewis White Beck on academic.oup.com]</ref> In addition, in 1970 he served as editor of the ''Proceedings of the Third International Kant Congress''.<ref name="Shook20160211">{{cite book | editor-last=Shook | editor-first=John R. | title=The Bloomsbury Encyclopedia of Philosophers in America: From 1600 to the Present | publisher=Bloomsbury Publishing | publication-place=London | date=February 11, 2016 | isbn=978-1-4725-7054-3 | url = https://books.google.com/books?id=UlQ0CwAAQBAJ | pages=71–72}}</ref> In 1985 he also contributed to the formation of the [[North American Kant Society|North American Kantian Society]].<ref name="Meerbote1997"/>

Over the years, Beck was praised by his students for his charm and wit. Even after his formal retirement in 1979 he continued to meet with informal gatherings of aspiring young scholars in an effort to share his unique insights into Kant's works until 1996.<ref name="Meerbote1997"/> He was often observed to joke that his prize for an award in teaching excellence was rejected as "nontaxable" by the Internal Revenue Service because it was more appropriately categorized as "unearned".<ref name="RCL2022"/>

===Academic works===
====Immanuel Kant====
Beck is most noted for his research into the collective writings of the German philosopher [[Immanuel Kant]]. Included among his publications is a translation of Kant's extensive "[[Critique of Pure Reason]]" in 1949.<ref name="Meerbote1997"/> He also achieved widespread national and international recognition within academic circles for his scholarship, commentary and encyclopedic knowledge of Kant's philosophical works.<ref name="Meerbote1997"/><ref name="Shook20160211"/><ref name="ShookHull2005">{{cite book | editor-last=Shook | editor-first=John R. | editor-first2 = Richard T. | editor-last2 = Hull | title=Dictionary of Modern American Philosophers | publisher=A&C Black | publication-place=Bristol | date=January 1, 2005 | isbn=978-1-84371-037-0 | pages=166–167 | url = https://books.google.com/books?id=Ijpj1tB3Qr0C}}</ref>

In the course of his exhaustive commentaries, Beck shared several noteworthy insights into Kant's philosophical thoughts. While revisiting Kant's distinction between "analytic" and "synthetic" truths and his concept of the "synthetic a priori", Beck attempted to clarify Kant's reasoning by exploring whether synthetic judgements should be made analytic, as well as whether Kant incorrectly identified some "contingent judgements" as "necessary judgements". He further observed that Kant's utilization of the term "synthetic" appears to convey different meanings in Kant's writings on transcendental logic as compared to his writings on the theory of general logic. Beck observed further that this divergence in meaning accounts for the unfortunate confusion in the minds of many students who explore translations of Kant's works from the original German into English.<ref name="Shook20160211"/><ref name="Cicovacki2001">{{cite book | editor-last=Cicovacki | editor-first=Predrag | title=Kant's Legacy: Essays in Honor of Lewis White Beck | publisher=University Rochester Press | publication-place=Rochester, NY | date=2001 | isbn=978-1-58046-053-8 | page=25-46}}</ref>

Beck also asserted that Kant's ''[[Critique of Practical Reason]]'' has been largely neglected by modern readers and sometimes supplanted in the minds of many scholars by the ''[[Foundations of the Metaphysics of Morals]].'' He claimed that a complete understanding of Kant's moral philosophy is most easily attained by reviewing Kant's "second critique" which puts forth an analysis of the concepts of both freedom and practical reason. In his ''A Commentary on Kant's Critique of Practical Reason'' (1961) Beck asserts that Kant's "second critique" serves to weave these divers strands into a unified pattern for his theory on moral authority in general.<ref name="Shook20160211"/><ref>[https://books.google.com/books?id=Ijpj1tB3Qr0C&q=lEWIS+wHITE+bECK#v=snippet&q=lEWIS%20wHITE%20bECK&f=false ''Dictionary of Modern American Philosphers''. Shook, John R. Ed. Thoemmes Continuum, Bristol, 2005 p. 166 ISBN 9781843710370 Lewis White Beck on Google Books]</ref><ref>[https://archive.org/details/lewis-white-beck-a-commentary-on-kants-critique-of-practical-reason/mode/2up ''A Commentary on Kant's Critique of Practical Reason'' Beck, Lewis White. The University of Chicago Press, London, 1960, p. v–viii (Foreword) on archive.org]</ref>

====Secular philosophy====
In his ''Six Secular Philosophers'' (1966), Beck also endeavored to explore the general characteristics of a secular philosophy and whether such a philosophy can be formulated to accommodate religious beliefs and values. Beck observed that while an exact or precise conceptualization of a secular philosophy might be elusive, a secular philosophy is likely to require an appeal to an independence of thought. In Beck's view it should also incorporate certain aspects of religious thought as well. With this in mind, Beck identified several "families" of secular philosophers. In his first group Beck calls our attention to philosophers who placed limits on the scope, validity and content of religious belief by an appeal to scientific and philosophic endeavors. He identifies [[Baruch Spinoza]], [[David Hume]] and Kant in this grouping. In his second grouping, Beck identified [[Frederich Nietzsche]], [[William James]] and [[George Santayana]], each of whom explored the relationship of religious values in general to other values in life. Beck asserted that Kant ultimately could not embrace Spinoza's embrace of [[substance theory|substance]] or his appeal to [[monism]]. According to Beck, Kant agreed instead with Hume that a scientific interpretation of nature cannot serve by itself to confirm religious belief. According to Beck, Kant also parted ways with Hume, however, by insisting that a different rational basis for religious thought can be found in mankind's moral consciousness.<ref name="Shook20160211"/><ref name="ShookHull2005"/><ref name="Cicovacki2001"/>

====Additional interests====
Beck's scholarly publications also reflect his interest in philosophical topics which are not prima facia directly related to the works of Immanuel Kant. In 1966 he published a detailed philosophical examination of the characteristics of mankind's conscious and unconscious motives entitled ''Conscious and Unconscious Motives.''<ref>[https://www.jstor.org/stable/pdf/2252009.pdf ''Mind – A Quarterly Review of Psychology and Philosophy'' -"Conscious and Unconscious Motives". Beck, Lewis White. Oxford University Press, Vol LXXV No. 298, April, 1966 pp. 155–179 on JSTOR]</ref> In 1968, he also collaborated with his colleague [[Robert L. Holmes]] at the University of Rochester in the book ''Philosophic Inquiry: An Introduction to Philosophy''.<ref>{{Cite book |last1=Beck |first1=Lewis White |url=https://books.google.com/books?id=K7cXtgEACAAJ |title=Philosophic Inquiry: An Introduction to Philosophy |last2=Holmes |first2=Robert L. |date=1968 |publisher=Prentice-Hall |isbn=978-0-13-662494-3}}</ref> Years later in 1971, he also presented his insights into the topic of searching for [[extraterrestrial life]] for the sixty-eighth annual Eastern Meeting of the American Philosophical Association in New York City in a paper which he entitled ''Extraterrestrial Intelligent Life.''<ref>[https://www.jstor.org/stable/3129745 ''Proceedings and Addresses of the American Philosophical Association'' – "Extraterrestrial Intelligent Life",. Beck, Lewis White. Vol 45 (1971–1972) pp. 5–21 on JSTOR]</ref>

In the later work, Beck traces the evolution of philosophical speculation concerning the presence of intelligent extraterrestrial life forms starting with the ancient writings of [[Lucretius]], [[Plutarch]] and [[Aristotle]], to the contributions made by [[Copernicus]] and culminating in the modern age within the works [[Charles Darwin|Darwin]], Immanuel Kant, [[William Whewell]] and [[Marx]].<ref>[https://www.jstor.org/stable/3129745 ''Proceedings and Addresses of the American Philosophical Association'' – "Extraterrestrial Intelligent Life",. Beck, Lewis White. Vol 45 (1971–1972) pp. 5–12 on JSTOR]</ref> He argues that our ancestors in the sixteenth and seventeenth centuries were plagued by a profound pessimism over the decline of the natural world due to mankind's sinfulness and consequently sought redemption by searching for the presence of "higher beings" within the universe.<ref>[https://www.jstor.org/stable/3129745 ''Proceedings and Addresses of the American Philosophical Association'' – "Extraterrestrial Intelligent Life",. Beck, Lewis White. Vol 45 (1971–1972) pp. 18–19 on JSTOR]</ref> Similarly, in modern times, mankind's despair and technological shock is due in part to his pollution of the natural world and in part due to repeated failures of moral belief.<ref>[https://www.jstor.org/stable/3129745 ''Proceedings and Addresses of the American Philosophical Association'' – "Extraterrestrial Intelligent Life",. Beck, Lewis White. Vol 45 (1971–1972) pp. 19–20 on JSTOR]</ref> He argues further that deeply seated religious, philosophical and existential beliefs are serving to perpetuate the comforting archetypal idea that mankind is not alone in the universe. Beck concludes on an optimistic note, however, by suggesting that while the quest for other or superior forms of life in the universe may not prove successful, it may yield beneficial consequences by assisting mankind in the actualization of better ways of life here on Earth.<ref>[https://www.jstor.org/stable/3129745 ''Proceedings and Addresses of the American Philosophical Association'' – "Extraterrestrial Intelligent Life",. Beck, Lewis White. Vol 45 (1971–1972) pp. 18–20 on JSTOR]</ref>

===Honours===
In addition to receiving fellowships from the [[Rosenwald Fund]] in 1937,<ref>[https://ajc.newspapers.com/search/?date=1938-09-18&keyword=Lewis+Beck The Atlanta Constitution. September 18, 1938 p. 44 Lewis Beck on Atlanta Journal Constitution Archive at ajc.newspapers.com]</ref> the [[John Simon Guggenheim Memorial Foundation|Guggenheim Foundation]] in 1957,<ref name="JSGMF"/> the [[American Academy of Arts and Sciences]] in 1963,<ref name="AAAS20230210"/> and the [[American Council of Learned Societies]] in 1964,<ref name="ACLS20220322"/> Beck was the first recipient of the University Of Rochester's Edward Peck Curtis Award for Excellence in Undergraduate Teaching in 1962.<ref name="RCL2022"/>

In addition, Beck was the recipient of several honorary degrees from several leading scholarly institutions including:[[Hamilton College]], [[Emory University]] and the [[university of Tubingen]].<ref name="Meerbote1997"/><ref name="Hull2013"/> He was also an honorary member of the ''Kant Society'' in Germany.<ref>[https://www.degruyter.com/document/doi/10.1515/kant.1997.88.4.385/html?lang=en "Lewis White Beck in memoriam". Seebohm, Thomas M. Kant-Studien 88. Jahrg., S. 38 1997 Lewis White Beck Memoriam on Google]</ref>

In 2001 Beck was honored by several prominent scholars and the philosopher Predrag Cicovaki with the publication of ''Kant's Legacy: Essays in Honor of Lewis White Beck''. The leading scholar of German philosophy [[Walter Kaufmann (philosopher)|Walter Kaufmann]] also paid special tribute to Beck's scholarship in his work ''Goethe, Kant and Hegel'' in 1980.<ref name="ShookHull2005"/><ref name="Cicovacki2001"/>

===Death===
Beck retired in 1979 and died in 1997 at age 83 in [[Rochester, New York]].<ref name="Meerbote1997"/> He was survived by his wife
Caroline as well as his two sons Brandon and Hamilton along with two grandsons.<ref>[https://www.cambridge.org/core/services/aop-cambridge-core/content/view/77D526381EEB10DD1DD11EAD353DD02D/S1369415400000145a.pdf/lewis-white-beck-19131997.pdf "In Memoriam Lewis White Beck (1913–1997)" Meerbote, Ralph.''Kantian Review'' Cambride University Press, Vol. 1, 1997 p. 186-187 on Cambridge.org]</ref>

==Selected publications==
{{External media |width=250px|video1= You may read Lewis White Beck's: ''Studies in the Philosophy of Kant'' (1965) ''Early German Philosophy: Kant and His Predecessors'' (1969) and additional publications about Kant [https://archive.org/search.php?query=Lewis+White+Beck&sin= '''Here on Archive.org''']}}
During his long academic career, Lewis White Beck published several books and numerous scholarly articles which include the following works.<ref>[https://search.worldcat.org/search?q=au%3D%22Beck%2C+Lewis+White%22&limit=10&offset=1 Publications by Lewis White Beck on worldcat.org]</ref><ref>[https://www.cambridge.org/core/journals/kantian-review/listing?q=Lewis%20White%20Beck&pageNum=1&fts=yes&searchWithinIds=D3E55E88C6269FFD657D4E68B193ADAB Lewis White Beck's publications on the philosophical journal [[Kantian Review]] on cambridge.org]</ref>
===Books===
* ''Philosophic Inquiry: An Introduction to Philosophy'' (1952)<ref>[https://books.google.com/books?id=G0W0vgEACAAJ Philosophical inquiry: An Introduction to Philosophy. Beck, Lewis White. Prentice Hall 1952 Lewis White Beck on Google Books]</ref>
* ''A Commentary on Kant's Critique of Practical Reason'' (1961)<ref>{{cite book | last=Beck | first=Lewis White | title=A Commentary on Kant's Critique of Practical Reason | publisher=University of Chicago Press | publication-place=Chicago London | date=1963 | isbn=0-226-04075-5 | page=}}</ref><ref>[https://archive.org/details/lewis-white-beck-a-commentary-on-kants-critique-of-practical-reason/mode/2up ''A Commentary on Kant's Critique of Practical Reason'' Beck, Lewis White. The University of Chicago Press, London, 1960, p. v–viii (Foreword) on archive.org]</ref>
* ''On History'' (1963)<ref name="KantBeck1963">{{cite book | last=Kant | first=Immanuel | editor-first = Lewis White | editor-last = Beck | title=On History | publisher=MacMillan Publishing Company | publication-place=Indianapolis, IN | date=1963 | isbn=978-0-672-60387-7 | oclc=372089}}</ref>
* ''Studies in the Philosophy of Kant'' (1965)<ref>[https://archive.org/details/studiesinphiloso0000beck/page/n5/mode/2up ''Studies in the Philosophy of Kant'' Beck, Lewis White. Bobbs-Merrill, Indianapolis, 1965 Lewsi White Beck on archive.org]</ref>
* ''Six Secular Philosophers'' (1966)<ref>[https://archive.org/details/sixsecularphilos0000beck/page/n3/mode/2up ''Six Secular Philosophers'' Beck, Lewis White. Harper & Brothers, New York 1960 Lewis White Beck on Archive.org]</ref>
* ''18th-Century Philosophy'' (1966) Editor: Lewis White Beck<ref>{{cite book | last=Beck | first=Lewis White | title=Eighteenth-Century Philosophy | publisher=Simon and Schuster | publication-place=New York | date=1966 | isbn=0-02-902100-6 | page=}}</ref>
* ''Early German Philosophy: Kant and His Predecessors'' (1969)<ref>{{cite book | last=Beck | first=Lewis White | title=Early German Philosophy: Kant and His Predecessors | date=1969 | isbn=978-0-7837-1670-1 | page=}}</ref>
* ''Kant's Theory of Knowledge'' Editor: Lewis White Beck (1974)<ref>{{cite book | last=Beck | first=L.W. | title=Kant's Theory of Knowledge | publisher=Springer | publication-place=Dordrecht | date=August 31, 1974 | isbn=978-90-277-0529-7 | page=}}</ref>
* ''The Actor and the Spectator'' (1975)<ref>{{cite book | last=Beck | first=Lewis White | title=The Actor and the Spectator | publisher=Yale University Press | publication-place=New Haven | date=1975 | isbn=0-300-01899-1 | page=}}</ref><ref>[https://philpapers.org/rec/BECTAA-2 ''The Actor and the Spectator''. Beck, Lewis White. Yale University Press, New Haven, 1975 on philppaper.org]</ref>
* ''Essays on Kant and Hume'' (1978)<ref>{{cite book | last=Beck | first=Lewis White | title=Essays on Kant and Hume | date=1998 | isbn=978-0-7837-2786-8 | page=}}</ref>
* ''Mr. Boswell dines with Professor Kant'' (1979)<ref>[https://www.google.com/books/edition/Mr_Boswell_Dines_with_Professor_Kant/DMIsAAAACAAJ?hl=en ''Mr. Boswell Dines with Professor Kant'' Beck, Lewis White. Bosewell, James, Kant, Immanuel. Tragara Press, 1979 ISBN 9780902616493 on Google Books]</ref>
* ''Essays by Lewis White Beck: Five Decades as a Philosopher'' (1998) Editor: Predrag Cicovaki <ref>[https://archive.org/details/essaysbylewiswhi0000beck/page/n5/mode/2up ''Essays by Lewis White Beck: Five Decades as a Philosopher'' Beck, Lewis White. Editor: Predrag Cicovaki. University of Rochester Press, Rochester, New York, 1998 Lewsi White Beck on Archive.org]</ref>

===Translations===
* {{cite book |last= Kant |first= Immanuel |title= Prolegomena to Any Future Metaphysics That Will Be Able to Present Itself as a Science |place= New York |publisher= Bobbss Merrill Educational Publishing |editor = Lewis White Beck |year= 1950 |edition= |url= https://archive.org/details/prolegomenatoany0000kant/page/n3/mode/2up?view=theater|url-access= registration |via= [[Internet Archive]]}}
* {{cite book |last= Kant |first= Immanuel |title= Critique of Practical Reason |place= New York |publisher= The Liberal Arts Press |translator = Lewis White Beck |year= 1956 |edition= |url= https://archive.org/details/immanuelkantcrit0000lewi/page/n3/mode/2up?view=theater|url-access= registration |via= [[Internet Archive]]}}
* {{cite book |last= Kant |first= Immanuel |title= The Foundations of the Metaphysics of Morals and What is Enlightenment |place= Upper Saddle River, NJ |publisher= Prentice Hall Inc. |translator = Lewis White Beck |year= 1997 |edition= 2nd |url= https://archive.org/details/foundationsofmet00kant/page/n3/mode/2up?view=theater |url-access= registration |via= [[Internet Archive]]}}

==Archived works==
* ''The Lewis White Beck Papers'' collection was gifted to the [[University of Rochester]] for archival purposes by Professor Beck in 1960, 1965, 1969 and 1975. The manuscripts and notes contained within the collection are accessible to scholars and research students within the University of Rochester's Rare Books and Special Collections Library upon request.<ref>[https://archives.lib.rochester.edu/repositories/2/resources/1412 University of Rochester – Rare Books and Special Collections Library Identifier A.B39 Lewis White Beck Papers on archives.lib.rochester.edu]</ref>
* The ''Lewis White Beck manuscripts of Immanuel Kant's Critique of Practical Reason and Other Writings in Moral Philosophy'' Collection at the [[University of Delaware]] contains various drafts, galley proofs, page proofs and the published edition of Professor Beck's translations and editing of Immanuel Kant's work as completed during his tenure at Delaware University from 1943 to 1948 and is open both to researchers and scholars.<ref name="UDelLSCR"/>

==Professional affiliations==
Lewis White Beck was both an active member and a member emeritus of the [[American Philosophical Association]].<ref>[https://www.jstor.org/stable/3131061?searchText=&searchUri=&ab_segments=&searchKey=&refreqid=fastly-default%3A2b4967089f6041a2ec870591da0a3587&seq=12 Proceedings and Addresses of the American Philosophical Association: Membership List Vol 70, No 2 (Nov. 1996) p. 278 Lewis White Beck on jstor.org]</ref> He served as President of the American Philosophical Association- Eastern Division in 1971 as well as the chairman of its board of officers (1974–1977). He also served as the president of the North East Society for 18th Century Studies in 1974.<ref name="UR19970612"/>

==See also==
* [[Immanuel Kant]]
* [[Kantian ethics]]
* [[American philosophy]]
* [[German philosophy]]
* [[List of American philosophers]]
{{Portal bar|Biography|Philosophy}}

==References==

{{Reflist}}

==External links==
* [http://www.rochester.edu/news/show.php?id=1330 "Philosopher, Scholar Lewis White Beck Dies"] – University of Rochester press release.
* [https://rbscp.lib.rochester.edu/finding-aids/AB39 Lewis White Beck papers, A.B39, Rare Books, Special Collections, and Preservation, River Campus Libraries, University of Rochester]
* [https://findingaids.lib.udel.edu/repositories/2/resources/908 The Lewis White Beck Manuscripts of Immanuel Kant's "Critique of Pure Reason and Other Writings in Moral Philosophy" University of Delaware Library Special Collections Archive]
* [http://jonathangray.org/2012/02/24/the-contingent-cathedral-notes-on-lewis-white-becks-early-german-philosophy/ The contingent cathedral: notes on Lewis White Beck's ''Early German Philosophy''] – Notes on, quotations from and summary of Beck's ''Early German Philosophy''
* {{cite web |url= https://www.jstor.org/action/doBasicSearch?Query=Lewis+White+Beck |title= Lewis White Beck |publisher= [[JSTOR]]}}
* {{Internet Archive author |sname= Lewis White Beck |sopt=t}}
* [https://www.cambridge.org/core/journals/kantian-review/listing?q=Lewis%20White%20Beck&pageNum=1&fts=yes&searchWithinIds=D3E55E88C6269FFD657D4E68B193ADAB Works by Lewis White Beck in [[Kantian Review]] on cambridge.org]
* [https://search.worldcat.org/search?q=au=%22Beck%2C%20Lewis%20White%22 Works by Lewis White Beck's on Worldcat.org]
* [https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=lewis+white+beck+kant&oq=Lewis+White+Beck Works by Lewis White Beck on Google Scholar]
* [https://archive.org/details/lewis-white-beck-a-commentary-on-kants-critique-of-practical-reason/mode/2up Lewis White Beck's ''A Commentary on Kant's Critique of Practical Reason'' on archive.org]
{{Authority control}}

{{DEFAULTSORT:Beck, Lewis White}}

[[Category:1913 births]]
[[Category:1997 deaths]]
[[Category:Duke University alumni]]
[[Category:Emory University alumni]]
[[Category:Emory University faculty]]
[[Category:Fellows of the American Academy of Arts and Sciences]]
[[Category:Kant scholars]]
[[Category:Lehigh University faculty]]
[[Category:People from Griffin, Georgia]]
[[Category:People from Spalding County, Georgia]]
[[Category:Philosophers from Delaware]]
[[Category:Philosophers from Georgia (U.S. state)]]
[[Category:Philosophers from New York (state)]]
[[Category:Philosophers from Pennsylvania]]
[[Category:Translators of Immanuel Kant]]
[[Category:University of Delaware faculty]]
[[Category:University of Rochester faculty]]

Lewis White Beck

2024-11-06T23:03:45Z

160.72.80.178: /* Selected publications */''Included additional reference citation to publications by Lewis White Beck in the journal Kantian Review''~~~~NHPL

{{Short description|American philosopher (1913–1997)}}
{{Use American English|date=September 2024}}
{{Use mdy dates|date=September 2024}}
{{Infobox philosopher
| region = [[German idealism]]
| era = [[Western philosophy]]
| image =
| alt =
| caption =
| name = Lewis White Beck
|birth_date = {{Birth date|1913|9|26}}
| birth_place =
|death_date = {{Death date and age|1997|6|7|1913|9|26}}
| death_place = [[Rochester, New York|Rochester]], New York
| school_tradition =
| main_interests = [[Immanuel Kant]] [[Moral philosophy]]
| notable_ideas =
| influences =
| influenced =
| signature =
| signature_alt =
| awards = [[American Academy of Arts and Sciences]] Fellowship [[American Council of Learned Societies]] Fellowship [[Guggenheim Fellow]] [[Rosenwald Fund]] Fellowship
}}
'''Lewis White Beck''' (September 26, 1913 – June 7, 1997) was an American philosopher and scholar of [[German philosophy]] specializing in [[German idealism]]. Beck was Burbank Professor of Intellectual and Moral Philosophy at the [[University of Rochester]] and served as the Philosophy Department chair there from 1949 to 1966. He translated several of [[Immanuel Kant]]'s works, such as the ''[[Critique of Practical Reason]]'', and was the author of ''Studies in the Philosophy of Kant'' (1965).

==Biography==
Born in [[Griffin, Georgia]], Beck was the youngest of four children in a family raised by Erasmus W. Beck and Ann H. Beck. His siblings included: Evelyn H. Beck , Edwin H. Beck and Sarah A Beck. His father was employed as both an engineer and a sales representative.<ref name="Hull2013">{{cite book | last=Hull | first=Richard T. | title=American Philosophical Association Centennial Series: Presidential Addresses of The American Philosophical Association 1981–1990 | chapter=Biography: Lewis White Beck | publisher=Philosophy Documentation Center | date=2013 | doi=10.5840/apapa2013217 | pages=69–71}}</ref>

Beck received his bachelor's degree Phi Beta Kappa from [[Emory University]] in 1934, his master's degree from [[Duke University]] in 1935, and his doctoral degree from Duke University in 1937. His dissertation was entitled: "Synopsis: A Study in the Theory of Knowledge.<ref name="Hull2013"/>

===Academic career===
{{External media |width=150px|image1= You may see Lewis White Beck lecturing at Emmory University in 1938 [https://dlg.usg.edu/record/geusc_170msbcck2-cor_56341ns2h1-cor?canvas=0&x=5301&y=4614&w=7836 '''Here on usg.edu'''] |image2= Lewis White Beck at the University of Rochester [https://archive.org/details/essaysbylewiswhi0000beck/page/n5/mode/2up '''Here on archive.org''']}}
Before moving to Rochester, Beck was an international student and a [[Rosenwald Fund]] Fellow at the [[University of Berlin]] (1937–38; an interview about his experiences there appeared in ''[[Atlanta Constitution|The Atlanta Constitution]]'', September 18, 1938),<ref>[https://ajc.newspapers.com/search/?date=1938-09-18&keyword=Lewis+Beck The Atlanta Constitution. September 18, 1938 p. 44 Lewis Beck on Atlanta Journal Constitution Archive at ajc.newspapers.com]</ref> an instructor at [[Emory University]] (1938–41),<ref>[https://ajc.newspapers.com/search/?keyword=%22Lewis+White+Beck%22+ The Atlanta Constitution. July 25, 1941 p. 25 Lewis White Beck on The Atlanta Journal Constitution Archive at ajc.newspapers.com]</ref> Associate Professor of Philosophy at the [[University of Delaware]] (1941–48),<ref name="UDelLSCR">{{cite web | title=Collection: Lewis White Beck manuscripts of Immanuel Kant's Critique of Practical Reason and Other Writings in Moral Philosophy | website= University of Delaware Library Special Collections Repository | date=September 26, 1913 | url=https://findingaids.lib.udel.edu/repositories/2/resources/908 }}</ref> and associate professor at [[Lehigh University]] (1946–48), eventually becoming professor (1948–49).<ref name="Meerbote1997">{{cite journal | last=Meerbote | first=Ralf | title=Lewis White Beck (1913–1997) | journal=Kantian Review | volume=1 |year=1997 | issn=1369-4154 | doi=10.1017/S1369415400000145 | pages=186–187}}</ref>

Beck joined the faculty at the University or Rochester in 1949 and served as Chairman of its Department of Philosophy from 1949 to 1966. He also served as Associate Dean of the Graduate School (1952-1956) as well as the Dean of the Graduate School (1956–1957) where he helped to raise international recognition for the PhD. program in Philosophy.<ref name="RCL2022">{{cite web | first = Vincent | last = Tanzi | title=Leafing Through Lewis White Beck's Career and Mind | website=River Campus Libraries | date=September 29, 2022 | url=https://www.library.rochester.edu/rbscp/blog/leafing-through-lewis-white-becks-career-and-mind}}</ref> During this time he was awarded a [[Guggenheim Fellow]]ship in the field of Philosophy (1957).<ref name="JSGMF">{{cite web | title=Lewis W. Beck – John Simon Guggenheim Memorial Foundation| website=John Simon Guggenheim Memorial Foundation | url=https://www.gf.org/fellows/lewis-w-beck/ }}</ref> In 1970 he collaborated with the Kantian scholar Gottfried Martin at the [[University of Bonn]] to organize the first International Kant Congress to be hosted in the United States and helped to established an enduring close collaboration between Kantian scholars in both Germany and America.<ref>[https://www.degruyter.com/document/doi/10.1515/kant.1997.88.4.385/html?lang=en "Lewis White Beck in memoriam". Seebohm, Thomas M. Kant-Studien 88. Jahrg., S. 38 1997 Lewis White Beck Memoriam on Google]</ref><ref>[https://www.jstor.org/stable/2106957?seq=1 "Proceedings of the Third International Kant Congress" Beck, Lewis White.''Philosophy and Phenomenological Research'' Vol. 33, No. 3 (Mar., 1973), pp. 429–431 Lewis White Beck North American Kant Society on Google]</ref>

In 1962 he was appointed as the Burbank Professor of Moral and Intellectual Philosophy and subsequently Professor Emeritus in 1979.<ref name="Hull2013"/><ref name="Meerbote1997"/> In 1962 he became the first recipient of the University's Edward Peck Curtis Award for Excellence in Undergraduate Teaching.<ref name="RCL2022"/> He was subsequently elected a Fellow of the [[American Academy of Arts and Sciences]] in 1963 and the [[American Council of Learned Societies]] in 1964.<ref name=AAAS>{{cite web|title=Book of Members, 1780–2010:ChapterB|url=http://www.amacad.org/publications/BookofMembers/ChapterB.pdf|publisher=American Academy of Arts and Sciences|accessdate=May 29, 2011}}</ref><ref name="Meerbote1997"/><ref name="ACLS20220322">{{cite web | title=ACLS Fellowships Program 1964 Lewis White Beck Project: "A History of German Philosophy, from the Beginnings to Recent Times" | website=American Council Of Learned Societies| date=March 22, 2022 | url=https://www.acls.org/fellow-grantees/lewis-w-beck/}}</ref><ref name="AAAS20230210">{{cite web | title=Lewis White Beck | website=American Academy of Arts & Sciences | date=February 10, 2023 | url=https://www.amacad.org/person/lewis-white-beck }}</ref> From 1970 to 1975, Beck also served on the [[National Endowment for the Humanities]] Council.<ref name="UR19970612">{{cite web | title=Philosopher, Scholar Lewis White Beck Dies | website=University of Rochester | date=June 12, 1997 | url=https://www.rochester.edu/news/printable.php?id=1330}}</ref> During this time he also served as a member of the board of directors for the American Academy of Arts and Sciences (1970–1978).<ref name="UR19970612"/>

During the course of his long academic career, Beck also held appointments as a visiting lecturer at several leading academic research centers including: [[Columbia University]] (1950), [[George Washington University]], the [[University of Minnesota]] (1953), the [[University of California at Berkeley]] (1973), [[Yale University]] (1974) and the [[Rochester Institute of Technology]] (1982–1983). In addition, he received honorary degrees from [[Hamilton College]], Emory University and the [[University of Tubingen]].<ref name="Meerbote1997"/><ref name="Hull2013"/>

In addition to his teaching activities, Beck also served on the editorial board of several leading philosophical research journals including: the ''[[Journal of the History of Ideas]]'' and ''[[Kant Studies|Kantian-Studien]]''. Over the years he also served on the editorial board of the journal ''[[The Monist]]'' which also featured his work.<ref>[https://www.jstor.org/stable/2104455 Philosophy and Phenomenological Research. "Recent Publications" Vol 22, No. 3 (March 1962) pp. 443–447 "The Monist – editor Lewis White Beck" on jstor.org]</ref><ref>[https://www.jstor.org/journal/themonist The Monist publisher of works by Lewis White Beck on JSTOR.org]</ref><ref>[https://academic.oup.com/monist/article-abstract/53/4/523/1002243?redirectedFrom=fulltext The Monist "Introduction and Bibliography" Lewis White Beck. Volume 53, issue 4, 1 October 1969 p. 523-531 Lewis White Beck on academic.oup.com]</ref> In addition, in 1970 he served as editor of the ''Proceedings of the Third International Kant Congress''.<ref name="Shook20160211">{{cite book | editor-last=Shook | editor-first=John R. | title=The Bloomsbury Encyclopedia of Philosophers in America: From 1600 to the Present | publisher=Bloomsbury Publishing | publication-place=London | date=February 11, 2016 | isbn=978-1-4725-7054-3 | url = https://books.google.com/books?id=UlQ0CwAAQBAJ | pages=71–72}}</ref> In 1985 he also contributed to the formation of the [[North American Kant Society|North American Kantian Society]].<ref name="Meerbote1997"/>

Over the years, Beck was praised by his students for his charm and wit. Even after his formal retirement in 1979 he continued to meet with informal gatherings of aspiring young scholars in an effort to share his unique insights into Kant's works until 1996.<ref name="Meerbote1997"/> He was often observed to joke that his prize for an award in teaching excellence was rejected as "nontaxable" by the Internal Revenue Service because it was more appropriately categorized as "unearned".<ref name="RCL2022"/>

===Academic works===
====Immanuel Kant====
Beck is most noted for his research into the collective writings of the German philosopher [[Immanuel Kant]]. Included among his publications is a translation of Kant's extensive "[[Critique of Pure Reason]]" in 1949.<ref name="Meerbote1997"/> He also achieved widespread national and international recognition within academic circles for his scholarship, commentary and encyclopedic knowledge of Kant's philosophical works.<ref name="Meerbote1997"/><ref name="Shook20160211"/><ref name="ShookHull2005">{{cite book | editor-last=Shook | editor-first=John R. | editor-first2 = Richard T. | editor-last2 = Hull | title=Dictionary of Modern American Philosophers | publisher=A&C Black | publication-place=Bristol | date=January 1, 2005 | isbn=978-1-84371-037-0 | pages=166–167 | url = https://books.google.com/books?id=Ijpj1tB3Qr0C}}</ref>

In the course of his exhaustive commentaries, Beck shared several noteworthy insights into Kant's philosophical thoughts. While revisiting Kant's distinction between "analytic" and "synthetic" truths and his concept of the "synthetic a priori", Beck attempted to clarify Kant's reasoning by exploring whether synthetic judgements should be made analytic, as well as whether Kant incorrectly identified some "contingent judgements" as "necessary judgements". He further observed that Kant's utilization of the term "synthetic" appears to convey different meanings in Kant's writings on transcendental logic as compared to his writings on the theory of general logic. Beck observed further that this divergence in meaning accounts for the unfortunate confusion in the minds of many students who explore translations of Kant's works from the original German into English.<ref name="Shook20160211"/><ref name="Cicovacki2001">{{cite book | editor-last=Cicovacki | editor-first=Predrag | title=Kant's Legacy: Essays in Honor of Lewis White Beck | publisher=University Rochester Press | publication-place=Rochester, NY | date=2001 | isbn=978-1-58046-053-8 | page=25-46}}</ref>

Beck also asserted that Kant's ''[[Critique of Practical Reason]]'' has been largely neglected by modern readers and sometimes supplanted in the minds of many scholars by the ''[[Foundations of the Metaphysics of Morals]].'' He claimed that a complete understanding of Kant's moral philosophy is most easily attained by reviewing Kant's "second critique" which puts forth an analysis of the concepts of both freedom and practical reason. In his ''A Commentary on Kant's Critique of Practical Reason'' (1961) Beck asserts that Kant's "second critique" serves to weave these divers strands into a unified pattern for his theory on moral authority in general.<ref name="Shook20160211"/><ref>[https://books.google.com/books?id=Ijpj1tB3Qr0C&q=lEWIS+wHITE+bECK#v=snippet&q=lEWIS%20wHITE%20bECK&f=false ''Dictionary of Modern American Philosphers''. Shook, John R. Ed. Thoemmes Continuum, Bristol, 2005 p. 166 ISBN 9781843710370 Lewis White Beck on Google Books]</ref><ref>[https://archive.org/details/lewis-white-beck-a-commentary-on-kants-critique-of-practical-reason/mode/2up ''A Commentary on Kant's Critique of Practical Reason'' Beck, Lewis White. The University of Chicago Press, London, 1960, p. v–viii (Foreword) on archive.org]</ref>

====Secular philosophy====
In his ''Six Secular Philosophers'' (1966), Beck also endeavored to explore the general characteristics of a secular philosophy and whether such a philosophy can be formulated to accommodate religious beliefs and values. Beck observed that while an exact or precise conceptualization of a secular philosophy might be elusive, a secular philosophy is likely to require an appeal to an independence of thought. In Beck's view it should also incorporate certain aspects of religious thought as well. With this in mind, Beck identified several "families" of secular philosophers. In his first group Beck calls our attention to philosophers who placed limits on the scope, validity and content of religious belief by an appeal to scientific and philosophic endeavors. He identifies [[Baruch Spinoza]], [[David Hume]] and Kant in this grouping. In his second grouping, Beck identified [[Frederich Nietzsche]], [[William James]] and [[George Santayana]], each of whom explored the relationship of religious values in general to other values in life. Beck asserted that Kant ultimately could not embrace Spinoza's embrace of [[substance theory|substance]] or his appeal to [[monism]]. According to Beck, Kant agreed instead with Hume that a scientific interpretation of nature cannot serve by itself to confirm religious belief. According to Beck, Kant also parted ways with Hume, however, by insisting that a different rational basis for religious thought can be found in mankind's moral consciousness.<ref name="Shook20160211"/><ref name="ShookHull2005"/><ref name="Cicovacki2001"/>

====Additional interests====
Beck's scholarly publications also reflect his interest in philosophical topics which are not prima facia directly related to the works of Immanuel Kant. In 1966 he published a detailed philosophical examination of the characteristics of mankind's conscious and unconscious motives entitled ''Conscious and Unconscious Motives.''<ref>[https://www.jstor.org/stable/pdf/2252009.pdf ''Mind – A Quarterly Review of Psychology and Philosophy'' -"Conscious and Unconscious Motives". Beck, Lewis White. Oxford University Press, Vol LXXV No. 298, April, 1966 pp. 155–179 on JSTOR]</ref> In 1968, he also collaborated with his colleague [[Robert L. Holmes]] at the University of Rochester in the book ''Philosophic Inquiry: An Introduction to Philosophy''.<ref>{{Cite book |last1=Beck |first1=Lewis White |url=https://books.google.com/books?id=K7cXtgEACAAJ |title=Philosophic Inquiry: An Introduction to Philosophy |last2=Holmes |first2=Robert L. |date=1968 |publisher=Prentice-Hall |isbn=978-0-13-662494-3}}</ref> Years later in 1971, he also presented his insights into the topic of searching for [[extraterrestrial life]] for the sixty-eighth annual Eastern Meeting of the American Philosophical Association in New York City in a paper which he entitled ''Extraterrestrial Intelligent Life.''<ref>[https://www.jstor.org/stable/3129745 ''Proceedings and Addresses of the American Philosophical Association'' – "Extraterrestrial Intelligent Life",. Beck, Lewis White. Vol 45 (1971–1972) pp. 5–21 on JSTOR]</ref>

In the later work, Beck traces the evolution of philosophical speculation concerning the presence of intelligent extraterrestrial life forms starting with the ancient writings of [[Lucretius]], [[Plutarch]] and [[Aristotle]], to the contributions made by [[Copernicus]] and culminating in the modern age within the works [[Charles Darwin|Darwin]], Immanuel Kant, [[William Whewell]] and [[Marx]].<ref>[https://www.jstor.org/stable/3129745 ''Proceedings and Addresses of the American Philosophical Association'' – "Extraterrestrial Intelligent Life",. Beck, Lewis White. Vol 45 (1971–1972) pp. 5–12 on JSTOR]</ref> He argues that our ancestors in the sixteenth and seventeenth centuries were plagued by a profound pessimism over the decline of the natural world due to mankind's sinfulness and consequently sought redemption by searching for the presence of "higher beings" within the universe.<ref>[https://www.jstor.org/stable/3129745 ''Proceedings and Addresses of the American Philosophical Association'' – "Extraterrestrial Intelligent Life",. Beck, Lewis White. Vol 45 (1971–1972) pp. 18–19 on JSTOR]</ref> Similarly, in modern times, mankind's despair and technological shock is due in part to his pollution of the natural world and in part due to repeated failures of moral belief.<ref>[https://www.jstor.org/stable/3129745 ''Proceedings and Addresses of the American Philosophical Association'' – "Extraterrestrial Intelligent Life",. Beck, Lewis White. Vol 45 (1971–1972) pp. 19–20 on JSTOR]</ref> He argues further that deeply seated religious, philosophical and existential beliefs are serving to perpetuate the comforting archetypal idea that mankind is not alone in the universe. Beck concludes on an optimistic note, however, by suggesting that while the quest for other or superior forms of life in the universe may not prove successful, it may yield beneficial consequences by assisting mankind in the actualization of better ways of life here on Earth.<ref>[https://www.jstor.org/stable/3129745 ''Proceedings and Addresses of the American Philosophical Association'' – "Extraterrestrial Intelligent Life",. Beck, Lewis White. Vol 45 (1971–1972) pp. 18–20 on JSTOR]</ref>

===Honours===
In addition to receiving fellowships from the [[Rosenwald Fund]] in 1937,<ref>[https://ajc.newspapers.com/search/?date=1938-09-18&keyword=Lewis+Beck The Atlanta Constitution. September 18, 1938 p. 44 Lewis Beck on Atlanta Journal Constitution Archive at ajc.newspapers.com]</ref> the [[John Simon Guggenheim Memorial Foundation|Guggenheim Foundation]] in 1957,<ref name="JSGMF"/> the [[American Academy of Arts and Sciences]] in 1963,<ref name="AAAS20230210"/> and the [[American Council of Learned Societies]] in 1964,<ref name="ACLS20220322"/> Beck was the first recipient of the University Of Rochester's Edward Peck Curtis Award for Excellence in Undergraduate Teaching in 1962.<ref name="RCL2022"/>

In addition, Beck was the recipient of several honorary degrees from several leading scholarly institutions including:[[Hamilton College]], [[Emory University]] and the [[university of Tubingen]].<ref name="Meerbote1997"/><ref name="Hull2013"/> He was also an honorary member of the ''Kant Society'' in Germany.<ref>[https://www.degruyter.com/document/doi/10.1515/kant.1997.88.4.385/html?lang=en "Lewis White Beck in memoriam". Seebohm, Thomas M. Kant-Studien 88. Jahrg., S. 38 1997 Lewis White Beck Memoriam on Google]</ref>

In 2001 Beck was honored by several prominent scholars and the philosopher Predrag Cicovaki with the publication of ''Kant's Legacy: Essays in Honor of Lewis White Beck''. The leading scholar of German philosophy [[Walter Kaufmann (philosopher)|Walter Kaufmann]] also paid special tribute to Beck's scholarship in his work ''Goethe, Kant and Hegel'' in 1980.<ref name="ShookHull2005"/><ref name="Cicovacki2001"/>

===Death===
Beck retired in 1979 and died in 1997 at age 83 in [[Rochester, New York]].<ref name="Meerbote1997"/> He was survived by his wife
Caroline as well as his two sons Brandon and Hamilton along with two grandsons.<ref>[https://www.cambridge.org/core/services/aop-cambridge-core/content/view/77D526381EEB10DD1DD11EAD353DD02D/S1369415400000145a.pdf/lewis-white-beck-19131997.pdf "In Memoriam Lewis White Beck (1913–1997)" Meerbote, Ralph.''Kantian Review'' Cambride University Press, Vol. 1, 1997 p. 186-187 on Cambridge.org]</ref>

==Selected publications==
{{External media |width=250px|video1= You may read Lewis White Beck's: ''Studies in the Philosophy of Kant'' (1965) ''Early German Philosophy: Kant and His Predecessors'' (1969) and additional publications about Kant [https://archive.org/search.php?query=Lewis+White+Beck&sin= '''Here on Archive.org''']}}
During his long academic career, Lewis White Beck published several books and numerous scholarly articles which include the following works.<ref>[https://search.worldcat.org/search?q=au%3D%22Beck%2C+Lewis+White%22&limit=10&offset=1 Publications by Lewis White Beck on worldcat.org]</ref><ref>[https://www.cambridge.org/core/journals/kantian-review/listing?q=Lewis%20White%20Beck&pageNum=1&fts=yes&searchWithinIds=D3E55E88C6269FFD657D4E68B193ADAB Lewis White Beck's publications on the philosophical journal [[Kantian Review]] on cambridge.org]</ref>
===Books===
* ''Philosophic Inquiry: An Introduction to Philosophy'' (1952)<ref>[https://books.google.com/books?id=G0W0vgEACAAJ Philosophical inquiry: An Introduction to Philosophy. Beck, Lewis White. Prentice Hall 1952 Lewis White Beck on Google Books]</ref>
* ''A Commentary on Kant's Critique of Practical Reason'' (1961)<ref>{{cite book | last=Beck | first=Lewis White | title=A Commentary on Kant's Critique of Practical Reason | publisher=University of Chicago Press | publication-place=Chicago London | date=1963 | isbn=0-226-04075-5 | page=}}</ref><ref>[https://archive.org/details/lewis-white-beck-a-commentary-on-kants-critique-of-practical-reason/mode/2up ''A Commentary on Kant's Critique of Practical Reason'' Beck, Lewis White. The University of Chicago Press, London, 1960, p. v–viii (Foreword) on archive.org]</ref>
* ''On History'' (1963)<ref name="KantBeck1963">{{cite book | last=Kant | first=Immanuel | editor-first = Lewis White | editor-last = Beck | title=On History | publisher=MacMillan Publishing Company | publication-place=Indianapolis, IN | date=1963 | isbn=978-0-672-60387-7 | oclc=372089}}</ref>
* ''Studies in the Philosophy of Kant'' (1965)<ref>[https://archive.org/details/studiesinphiloso0000beck/page/n5/mode/2up ''Studies in the Philosophy of Kant'' Beck, Lewis White. Bobbs-Merrill, Indianapolis, 1965 Lewsi White Beck on archive.org]</ref>
* ''Six Secular Philosophers'' (1966)<ref>[https://archive.org/details/sixsecularphilos0000beck/page/n3/mode/2up ''Six Secular Philosophers'' Beck, Lewis White. Harper & Brothers, New York 1960 Lewis White Beck on Archive.org]</ref>
* ''18th-Century Philosophy'' (1966) Editor: Lewis White Beck<ref>{{cite book | last=Beck | first=Lewis White | title=Eighteenth-Century Philosophy | publisher=Simon and Schuster | publication-place=New York | date=1966 | isbn=0-02-902100-6 | page=}}</ref>
* ''Early German Philosophy: Kant and His Predecessors'' (1969)<ref>{{cite book | last=Beck | first=Lewis White | title=Early German Philosophy: Kant and His Predecessors | date=1969 | isbn=978-0-7837-1670-1 | page=}}</ref>
* ''Kant's Theory of Knowledge'' Editor: Lewis White Beck (1974)<ref>{{cite book | last=Beck | first=L.W. | title=Kant's Theory of Knowledge | publisher=Springer | publication-place=Dordrecht | date=August 31, 1974 | isbn=978-90-277-0529-7 | page=}}</ref>
* ''The Actor and the Spectator'' (1975)<ref>{{cite book | last=Beck | first=Lewis White | title=The Actor and the Spectator | publisher=Yale University Press | publication-place=New Haven | date=1975 | isbn=0-300-01899-1 | page=}}</ref><ref>[https://philpapers.org/rec/BECTAA-2 ''The Actor and the Spectator''. Beck, Lewis White. Yale University Press, New Haven, 1975 on philppaper.org]</ref>
* ''Essays on Kant and Hume'' (1978)<ref>{{cite book | last=Beck | first=Lewis White | title=Essays on Kant and Hume | date=1998 | isbn=978-0-7837-2786-8 | page=}}</ref>
* ''Mr. Boswell dines with Professor Kant'' (1979)<ref>[https://www.google.com/books/edition/Mr_Boswell_Dines_with_Professor_Kant/DMIsAAAACAAJ?hl=en ''Mr. Boswell Dines with Professor Kant'' Beck, Lewis White. Bosewell, James, Kant, Immanuel. Tragara Press, 1979 ISBN 9780902616493 on Google Books]</ref>
* ''Essays by Lewis White Beck: Five Decades as a Philosopher'' (1998) Editor: Predrag Cicovaki <ref>[https://archive.org/details/essaysbylewiswhi0000beck/page/n5/mode/2up ''Essays by Lewis White Beck: Five Decades as a Philosopher'' Beck, Lewis White. Editor: Predrag Cicovaki. University of Rochester Press, Rochester, New York, 1998 Lewsi White Beck on Archive.org]</ref>

===Translations===
* {{cite book |last= Kant |first= Immanuel |title= Prolegomena to Any Future Metaphysics That Will Be Able to Present Itself as a Science |place= New York |publisher= Bobbss Merrill Educational Publishing |editor = Lewis White Beck |year= 1950 |edition= |url= https://archive.org/details/prolegomenatoany0000kant/page/n3/mode/2up?view=theater|url-access= registration |via= [[Internet Archive]]}}
* {{cite book |last= Kant |first= Immanuel |title= Critique of Practical Reason |place= New York |publisher= The Liberal Arts Press |translator = Lewis White Beck |year= 1956 |edition= |url= https://archive.org/details/immanuelkantcrit0000lewi/page/n3/mode/2up?view=theater|url-access= registration |via= [[Internet Archive]]}}
* {{cite book |last= Kant |first= Immanuel |title= The Foundations of the Metaphysics of Morals and What is Enlightenment |place= Upper Saddle River, NJ |publisher= Prentice Hall Inc. |translator = Lewis White Beck |year= 1997 |edition= 2nd |url= https://archive.org/details/foundationsofmet00kant/page/n3/mode/2up?view=theater |url-access= registration |via= [[Internet Archive]]}}

==Archived works==
* ''The Lewis White Beck Papers'' collection was gifted to the [[University of Rochester]] for archival purposes by Professor Beck in 1960, 1965, 1969 and 1975. The manuscripts and notes contained within the collection are accessible to scholars and research students within the University of Rochester's Rare Books and Special Collections Library upon request.<ref>[https://archives.lib.rochester.edu/repositories/2/resources/1412 University of Rochester – Rare Books and Special Collections Library Identifier A.B39 Lewis White Beck Papers on archives.lib.rochester.edu]</ref>
* The ''Lewis White Beck manuscripts of Immanuel Kant's Critique of Practical Reason and Other Writings in Moral Philosophy'' Collection at the [[University of Delaware]] contains various drafts, galley proofs, page proofs and the published edition of Professor Beck's translations and editing of Immanuel Kant's work as completed during his tenure at Delaware University from 1943 to 1948 and is open both to researchers and scholars.<ref name="UDelLSCR"/>

==Professional affiliations==
Lewis White Beck was both an active member and a member emeritus of the [[American Philosophical Association]].<ref>[https://www.jstor.org/stable/3131061?searchText=&searchUri=&ab_segments=&searchKey=&refreqid=fastly-default%3A2b4967089f6041a2ec870591da0a3587&seq=12 Proceedings and Addresses of the American Philosophical Association: Membership List Vol 70, No 2 (Nov. 1996) p. 278 Lewis White Beck on jstor.org]</ref> He served as President of the American Philosophical Association- Eastern Division in 1971 as well as the chairman of its board of officers (1974–1977). He also served as the president of the North East Society for 18th Century Studies in 1974.<ref name="UR19970612"/>

==See also==
* [[Immanuel Kant]]
* [[Kantian ethics]]
* [[American philosophy]]
* [[German philosophy]]
* [[List of American philosophers]]
{{Portal bar|Biography|Philosophy}}

==References==

{{Reflist}}

==External links==
* [http://www.rochester.edu/news/show.php?id=1330 "Philosopher, Scholar Lewis White Beck Dies"] – University of Rochester press release.
* [https://rbscp.lib.rochester.edu/finding-aids/AB39 Lewis White Beck papers, A.B39, Rare Books, Special Collections, and Preservation, River Campus Libraries, University of Rochester]
* [https://findingaids.lib.udel.edu/repositories/2/resources/908 The Lewis White Beck Manuscripts of Immanuel Kant's "Critique of Pure Reason and Other Writings in Moral Philosophy" University of Delaware Library Special Collections Archive]
* [http://jonathangray.org/2012/02/24/the-contingent-cathedral-notes-on-lewis-white-becks-early-german-philosophy/ The contingent cathedral: notes on Lewis White Beck's ''Early German Philosophy''] – Notes on, quotations from and summary of Beck's ''Early German Philosophy''
* {{cite web |url= https://www.jstor.org/action/doBasicSearch?Query=Lewis+White+Beck |title= Lewis White Beck |publisher= [[JSTOR]]}}
* {{Internet Archive author |sname= Lewis White Beck |sopt=t}}
* [https://search.worldcat.org/search?q=au=%22Beck%2C%20Lewis%20White%22 Works by Lewis White Beck's on Worldcat.org]
* [https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=lewis+white+beck+kant&oq=Lewis+White+Beck Works by Lewis White Beck on Google Scholar]
* [https://archive.org/details/lewis-white-beck-a-commentary-on-kants-critique-of-practical-reason/mode/2up Lewis White Beck's ''A Commentary on Kant's Critique of Practical Reason'' on archive.org]
{{Authority control}}

{{DEFAULTSORT:Beck, Lewis White}}

[[Category:1913 births]]
[[Category:1997 deaths]]
[[Category:Duke University alumni]]
[[Category:Emory University alumni]]
[[Category:Emory University faculty]]
[[Category:Fellows of the American Academy of Arts and Sciences]]
[[Category:Kant scholars]]
[[Category:Lehigh University faculty]]
[[Category:People from Griffin, Georgia]]
[[Category:People from Spalding County, Georgia]]
[[Category:Philosophers from Delaware]]
[[Category:Philosophers from Georgia (U.S. state)]]
[[Category:Philosophers from New York (state)]]
[[Category:Philosophers from Pennsylvania]]
[[Category:Translators of Immanuel Kant]]
[[Category:University of Delaware faculty]]
[[Category:University of Rochester faculty]]

Robert L. Holmes

2024-10-29T23:32:09Z

160.72.80.178: /* External links */ ''Included External Link to publications by Robert L Holmes on Philpapers.org''~~~~NHPL

{{Short description|American philosopher}}
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'''Robert L. Holmes''' (December 28, 1935) is a [[Emeritus#In academia|Professor Emeritus]] of [[Philosophy]] at the [[University of Rochester]], and an expert on issues of [[peace]] and [[nonviolence]]. Holmes specializes in [[ethics]], and in [[social philosophy|social]] and [[political philosophy]]. He has written numerous articles and several books on those topics, and has been invited to address national and international conferences.

==Early life==
Holmes was raised in northern New York State by his parents who died when he was still in his teens. He graduated from [[Watertown, New York|Watertown]] High School in 1953 after serving as president of the student council, editor of the school magazine, and captain of a sectional championship cross country team. He also undertook studies in classical piano at the Watertown Conservatory of Music for ten years and won several awards while competing in New York City, Canada and Washington D. C.<ref name="robert-holmes.com">[https://www.robert-holmes.com/about Robert L. Holmes biography on robert-holmes.com]</ref>

Subsequently, Holmes earned his [[undergraduate degree]] in Philosophy cum laude from [[Harvard University]] in 1957. His honors thesis was "Plato's Concept of God". Soon thereafter he earned an M.A (1959) and [[Ph.D.]] (1961) in [[Philosophy]] from the [[University of Michigan]], where his dissertation was on "John Dewey's Ethics in the Light of Contemporary Metaethical Theory."<ref>[http://www.sas.rochester.edu/phl/people/faculty/holmes_robert/index.html University of Rochester - Faculty - Robert L. Holmes Professor Emeritus Professor of Philosophy - PhD. University of Michigan on sas.rochester.edu]</ref><ref>{{Cite web |title=Currents--November 9, 1998 |url=https://www.rochester.edu/currents/V26/V26N20/story1.html |access-date=2016-12-05 |website=www.rochester.edu}}</ref><ref name="robert-holmes.com"/>

==Career==
[[Image:URRushRhees.jpg|thumb|left|The Rush Rhees Library at University of Rochester, as seen from the Eastman Quadrangle.]]
Holmes joined the faculty at the [[University of Rochester]] in 1962.<ref>{{Cite web |title=Currents--November 9, 1998 |url=https://www.rochester.edu/currents/V26/V26N20/story1.html |access-date=2016-12-05 |website=www.rochester.edu}}</ref> By 1976 he acquired a fellowship at the National Humanities Institute at Yale University. Subsequently in 1983 he was appointed Senior Fulbright Lecturer at Moscow State university. He also served as a Faculty Fellow at the [[Kroc Institute for International Peace Studies]] at the [[University of Notre Dame]] in 1993.<ref>{{Cite book |url=https://books.google.com/books?id=24x6EAAAQBAJ&dq=University+of+Michigan+Dissertation+Robert+L.+Holmes&pg=PA319 |title=From the Eye of the Storm: Regional Conflicts and the Philosophy of Peace |date=4 July 2022 |publisher=BRILL |isbn=978-90-04-45880-2 |page=319}}</ref> In 1998, Holmes was appointed to the newly established Rajiv Gandhi Chair in Peace and Disarmament at [[Jawaharlal Nehru University]] in New Delhi, India, where he shaped the mission of the chair on instruction, research, and lectures.<ref>{{Cite web |title=Currents--November 9, 1998 |url=https://web.archive.org/web/20170318193059/https://www.rochester.edu/currents/V26/V26N20/story1.html |access-date=2016-12-05 |website=www.rochester.edu}}</ref><ref>[https://www.rochester.edu/news/printable.php?id=1196 University of Rochester Press Release: "University of Rochester 151st Commencement Highlights" April 25, 2001, p. 2 "Robert L. Holmes is a professor of philosophy ...appointed to the Rajiv Gandhi Chair in Peace and Disarmament at Jawaharlal Nehru University in New Delhi, India" on rochester.edu]</ref><ref>[https://www.robert-holmes.com/about Robert L. Holmes - "Positions Held: Jawaharlal Nehru University, New Dehli, India First recipient of the Rajiv Gandhi Chair in Peace and Disarmament, 1998-1999" biography on robert-holmes.com]</ref>

While serving on the faculty at the [[University of Rochester]], his lectures were always eagerly anticipated by students of the [[humanities]] as well as the [[sciences]]. He received the Edward Peck Curtis Award for Undergraduate Teaching in 2001 and the Professor of the Year Award in Humanities in 2006. At the 2007 convocation ceremony, Holmes was awarded the Goergen Award for Distinguished Achievement and Artistry in Undergraduate Teaching. Also, Holmes is known for being one of the very few professors to receive perfect or near perfect reviews every year since the university began student review services in 2001.<ref>[https://www.sbu.edu/support-sbu/advancement-news/2012/03/12/noted-expert-on-nonviolence-to-talk-about-social-inequality-thursday-at-st.-Bonaventure "St. Bonaventure University - Noted Expert on Nonviolence to talk about social inequality Thursday at St. Bonaventure" - Robert L. Holmes Biography on sbu.edu]</ref>

During the course of an academic career which has spanned over forty years, Holmes has held a variety of scholarly positions including: [[Fulbright Fellow]] at [[Moscow State University]] and a visiting professor at Notre Dame, [[Hamilton College]] as well as an instructor at the [[University of Texas at Austin]].<ref>[https://www.robert-holmes.com/about Robert L. Holmes Biography on robert-homes.com]</ref> In addition, he served as an editor of the philosophical journal ''[[Public Affairs Quarterly]]'' (1995-1999),<ref name="robert-holmes.com"/> contributed to the editorial review boards of both ''[[Social Theory and Practice]]'' (1975-1995) <ref>{{Cite book |url=https://books.google.com/books?id=lIpR-i9aawoC&q=Robert+Holmes+Editor+Social+Theory+and+Practice+Editorial+Committee |title=Social Theory and Practice |date=1993 |page=114}}</ref> and ''[[The Acorn: Journal of the Gandhi-King Society]]'' (1990-2003)<ref name="robert-holmes.com"/> and also participated on the national board of the [[Fellowship of Reconciliation (United States)|Fellowship of Reconciliation]].<ref>{{Cite book |last=Matthews |first=Gareth B. |url=https://books.google.com/books?id=ky6itexKzWcC&dq=Robert+Holmes++Editor+Public+Affairs+Quarterly&pg=PA384 |title=The Augustinian Tradition |date=1999 |publisher=University of California Press |isbn=0-520-20999-0 |page=384}}</ref> He was also a longtime adviser to the University of Rochester Undergraduate Philosophy Council.<ref>[https://www.sbu.edu/support-sbu/advancement-news/2012/03/12/noted-expert-on-nonviolence-to-talk-about-social-inequality-thursday-at-st.-bonaventure "St. Bonaventure University - Noted Expert on Nonviolence to talk about social inequality Thursday at St. Bonaventure"] - Robert L. Holmes Biography on sbu.edu</ref> In 1992 he also served as president of the professional organization [[Concerned Philosophers for Peace]] which strives to improve international understanding and peace through scholarly analysis of the causes of war.<ref>[http://peacephilosophy.org/about-cpp ''Concerned Philosophers for Peace - Officers- Presidents''] on peacephilosophy.org</ref>

{{ external media|width=175px|image1=Photograph of Professor Robert L. Holmes at the University of Rochester on [https://www.sas.rochester.edu/phl/people/faculty/holmes_robert/index.html '''Rochester.edu''']}}

Holmes is the author of several comprehensive texts on the subject of [[moral philosophy]]. Included among his publications is a collaborative work undertaken in 1968 with [[Lewis White Beck]] - a noted scholar on [[Kantian ethics]] (''Philosophical Inquiry: An Introduction to Philosophy'').<ref name="Prentice-Hall">{{Cite book |last1=Beck |first1=Lewis White |url=https://books.google.com/books?id=K7cXtgEACAAJ |title=Philosophic Inquiry: An Introduction to Philosophy |last2=Holmes |first2=Robert L. |date=1968 |publisher=Prentice-Hall |isbn=978-0-13-662494-3}}</ref><ref>[http://www.rochester.edu/news/show.php?id=1330 "Philosopher, Scholar Lewis White Beck Dies"] on Rochester.edu.news]</ref> Subsequently, in 2001 he served as a contributory author to the book ''Kant's Legacy: Essays in Honor of Lewis White Beck'' with an essay on ''Consequentialism and Its Consequences''.<ref>{{Cite book |last=Cicovacki |first=Predrag |url=https://books.google.com/books?id=SWg9hOtdzIIC&q=Robert+Holmes |title=Kant's Legacy: Essays in Honor of Lewis White Beck |date=2001 |publisher=University Rochester Press |isbn=1-58046-053-4 |pages=227–244}}</ref> He also coauthored a work in 2005 with [[Barry L. Gan]] - Director of the Center for Nonviolence at [[St. Bonaventure University]] (''Nonviolence in Theory and Practice'').<ref>[https://www.sbu.edu/about-sbu/people-of-sbu/faculty-profiles/gan-barry-l- ''St. Bonaventure University Profiles - Barry L. Gan: Director of the Center for Nonviolence'' on sbu.edu]</ref><ref>{{cite book | url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms | title=Nonviolence in Theory and Practice | isbn=978-1-57766-349-2 | last1=Holmes | first1=Robert L. | last2=Gan | first2=Barry L. | date=2005 | publisher=Waveland Press }}</ref> In addition, he has published numerous papers in several academic [[peer-reviewed]] journals including: ''[[Analysis (journal)|Analysis]]'', ''[[Ethics (journal)|Ethics]]'', ''[[International Philosophical Quarterly]]'', ''[[Journal of Medicine and Philosophy]]'', ''[[Journal of Value Inquiry]]'', ''[[Mind (journal)|Mind]]'', ''[[The Monist]]'', ''[[The Philosophical Forum]]'', and ''The [[Review of Metaphysics]]''.<ref>[https://scholar.google.com/scholar?q=%22Robert+L.+Holmes%22 ''Robert L. Holmes''] on scholar.google.com</ref><ref name="Holmes 1990 143–159">{{Cite journal |last=Holmes |first=R. L. |date=1990 |title=The Limited Relevance of Analytical Ethics to the Problems of Bioethics |url=https://academic.oup.com/jmp/article-lookup/doi/10.1093/jmp/15.2.143 |journal=Journal of Medicine and Philosophy |language=en |volume=15 |issue=2 |pages=143–159 |doi=10.1093/jmp/15.2.143 |pmid=2351891 |issn=0360-5310}}</ref><ref name="Holmes 1974 96–100">{{Cite journal |last=Holmes |first=Robert L. |date=1974 |title=Is Morality a System of Hypothetical Imperatives? |url=https://www.jstor.org/stable/3327492 |journal=Analysis |volume=34 |issue=3 |pages=96–100 |doi=10.2307/3327492 |jstor=3327492}}</ref><ref name=":0">{{Cite journal |last=Holmes |first=Robert L. |date=2015 |title=The Metaethics of Pacifism and Just War Theory |url=https://onlinelibrary.wiley.com/doi/abs/10.1111/phil.12052 |journal=The Philosophical Forum |volume=46 |pages=3–15 |doi=10.1111/phil.12052}}</ref><ref name="Holmes 1966 42–70">{{Cite journal |last=Holmes |first=Robert L. |date=1966 |title=John Dewey's Moral Philosophy in Contemporary Perspective |url=https://www.jstor.org/stable/20124148 |journal=The Review of Metaphysics |volume=20 |issue=1 |pages=42–70 |jstor=20124148}}</ref><ref>{{cite journal | url=https://link.springer.com/article/10.1007%2FBF00208793?LI=true | doi=10.1007/BF00208793 | title=John Dewey's social ethics | date=1973 | last1=Holmes | first1=Robertl. | journal=The Journal of Value Inquiry | volume=7 | issue=4 }}</ref><ref name="Holmes 1964 392–406">{{Cite journal |last=Holmes |first=Robert L. |date=1964 |title=The Development of John Dewey's Ethical Thought |url=https://www.pdcnet.org/pdc/bvdb.nsf/purchase?openform&fp=monist&id=monist_1964_0048_0003_0392_0406 |journal=The Monist |language=en |volume=48 |issue=3 |pages=392–406 |doi=10.5840/monist196448324}}</ref><ref>{{cite journal | url=https://www.journals.uchicago.edu/doi/abs/10.1086/291878?journalCode=et | doi=10.1086/291878 | title=University Neutrality and ROTC | date=1973 | last1=Holmes | first1=Robert L. | journal=Ethics | volume=83 | issue=3 | pages=177–195 }}</ref><ref name="Holmes 1997 483–484">{{Cite journal |last=Holmes |first=Robert L. |date=1997 |title=Just War: Principles and Cases |url=https://www.pdcnet.org/pdc/bvdb.nsf/purchase?openform&fp=ipq&id=ipq_1997_0037_0004_0483_0484 |journal=International Philosophical Quarterly |language=en |volume=37 |issue=4 |pages=483–484 |doi=10.5840/ipq199737453}}</ref><ref name="Holmes 1964 291–295">{{Cite journal |last=Holmes |first=Robert L. |date=1964 |title=The Case Against Ethical Naturalism |url=https://www.jstor.org/stable/2251823 |journal=Mind |volume=73 |issue=290 |pages=291–295 |doi=10.1093/mind/LXXIII.290.291 |jstor=2251823}}</ref>

Holmes is currently a Professor Emeritus at the University of Rochester but no longer instructs students on campus.<ref>[http://www.sas.rochester.edu/phl/people/faculty/holmes_robert/index.html University of Rochester - Faculty - Robert L. Holmes Professor Emeritus Professor of Philosophy on sas.rochester.edu]</ref>

==Moral philosophy==

Over the course of the past forty years, Holmes has addressed several interrelated [[moral dilemmas]] posed in the modern age including [[terrorism]], [[nuclear deterrence]] and [[armed conflict]] in general. In his book ''On War and Morality'' (1989) he offers a robust philosophical defense of [[pacifism]] and its application in a world which is plagued with recurrent outbursts of international violence despite its adherence to upholding the principles of nuclear deterrence and [[mutual assured destruction]] (MAD) since the emergence of the cold war era. Holmes rejects a reliance upon such an irrational set of principles and dismisses them as morally wrong. Instead, he advances a form of "moral personalism" based upon the maxim that any intelligible moral theory must include an abiding interest in the lives and well being of all people. In his view, violence is a form of abrogation of this maxim which is prima facia wrong and that [[Just war theory|Just War Theories]] in general are inadequate to the task of surmounting such a moral presumption.<ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2216042.pdf |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref><ref name="Holmes">{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=yGx-2-maackC |title=The Ethics of Nonviolence: Essays by Robert L. Holmes |date=20 June 2013 |publisher=Bloomsbury |isbn=978-1-62356-962-4}}</ref>

Holmes offers a systematic critical review of the two major schools of thought which claim to defend warfare in the modern world. In the first group are the "positivistic realists" who claim that concepts of "right" or "wrong" are irrelevant in international affairs and the "normative realists" who claim that moral considerations should not be permitted to play a role in determining foreign policy. Holmes dismisses the later by observing that they have misread the history of the twentieth century by suggesting the Wilsonian idealism inevitably led to the onset of World War II and confuse morality with moralism.<ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/2185583 |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Review of On War and Morality; Paths to Peace: Exploring the Feasibility of Sustainable Peace |url=https://www.jstor.org/stable/1961738 |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |issn=0003-0554 |jstor=1961738}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/2216042 |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref><ref name="Holmes"/>

In the second group, Holmes identifies the defenders of just war theories. Holmes rejects their attempts to justify the taking of innocent human lives in order to save other innocent human lives as morally unjustifiable in so far as both killing and any appeal to violence is morally unjustified in the first place, despite the consequences which may follow from such an act. Even if a war is considered "just" in accordance with the standards of ''jus ad ballo'' or ''jus in bello'', it may not be deemed morally acceptable based upon a consideration of the organized violence which it engenders in the modern world<ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2216042.pdf |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref><ref name="Holmes"/>

With this in mind, Holmes outlines a four stage argument to support the view that warfare is unjustified even within the context of modern world conditions. First he observes that warfare in general cannot be justified if the means of waging the war are, when taken by themselves, also morally unjustified. Secondly, he contends that modern warfare by its very nature inevitably involves the killing of innocent people. Thirdly, he denies that the presumption against killing innocent people can be overridden by conditions related to the waging of war. Lastly, he identifies nonviolence as an embodiment of a viable alternative to warfare. Specifically, he outlines a [[Gandhian]] approach to resolving conflicts, which rejects the utilization of mutual concessions in order to achieve a provisional or temporary standoff between the waring parties. This is replaced with a process of actively creating peace through negotiations which engender mutual progress for all parties involved in the conflict.
Taken together, these arguments suggest that an appeal to nonviolence is a viable ethical alternative even within the modern world.<ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2216042.pdf |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref><ref name="Holmes"/>

In his more recent book, ''Pacifism: A Philosophy of Nonviolence'' Holmes offers a supplement to the analysis presented above. Here, Holmes ventures beyond philosophical considerations of how to best distinguish between ''just wars'' and ''unjust wars'' in particular and presents an analysis of what he describes as a more "basic moral question" by exploring the general case of whether war is ''ever'' morally permissible. This is accomplished by examining the concept of warfare from a more global perspective, as opposed to concentrating primarily on the particular subjective perceptions of "just" or "unjust" outcomes which may prevail among the combatants. With this in mind, he offers a critical review of the "constellation of social, political, economic, religious and ethical values and practices" which are required to wage war systematically over time. He concludes by arguing that a prima facie presumption against warfare in general is sufficiently compelling in the modern era due to a variety of factors including: the killing of both innocent and non-innocents alike, the inevitable displacement of large populations of people, along with the inevitable harm done to both animal life and the environment in the long term.<ref>[https://ndpr.nd.edu/reviews/pacificism-a-philosophy-of-nonviolence/ ''Notre Dame Philosophical Reviews'' - "Pacifism A Philosophy of Nonviolence" by Robert L. Holmes. Book review presented by Cheyney Ryan, the University of Oxford 6/7/2017 archived at the University of Notre Dame on ndpr.nd.edu]</ref> Stated more simply, "To be a pragmatic pacifist one need only hold that the large-scale, organized and systematic violence of war is impermissible in today's world."<ref>[https://ndpr.nd.edu/reviews/pacificism-a-philosophy-of-nonviolence/ ''Pacifism A Philosophy of Nonviolence''. Holmes, Robert L. Bloomsbury, London, 2017 pp.265-266, "Notre Dame Philosophical Reviews" - "Pacifism A Philosophy of Nonviolence" Book review presented by Cheyney Ryan, the University of Oxford 6/7/2017 archived at the University of Notre Dame on ndpr.nd.edu]</ref>

== Publications ==
{{ external media|width=175px|video1=You may preview selections from Holmes' book ''The Ethics of Nonviolence - Essays by Robert L. Holmes'' on [https://books.google.com/books?id=0XbHAgAAQBAJ&q=Robert+L.+Holms '''books.google.com''']}}

===Texts===
Included among Robert L. Holmes publications are the following texts:<ref>[https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=Robert+L.+Holmes&btnG= Robert L. Holmes' publications on Google Scholar]</ref>
*''Basic Moral Philosophy'' by Robert L. Holmes<ref name="Jr.2008">{{Cite book |last=Ghiraldelli |first=Paulo Jr. |url=https://books.google.com/books?id=LVKkH52zb1kC&pg=PA111 |title=Contemporary pragmatism |date=February 2008 |publisher=Rodopi |isbn=978-90-420-2371-0 |pages=111– |accessdate=9 August 2011}}</ref><ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=BxH7CAAAQBAJ&q=Robert+L.+Holms |title=Basic Moral Philosophy |date=8 October 2014 |publisher=Cengage Learning |isbn=978-1-305-89026-8}}</ref>
* ''Introduction to Applied Ethics'' by Robert L. Holmes <ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=a6BIDwAAQBAJ&q=Robert+L.+Holms |title=Introduction to Applied Ethics |date=22 February 2018 |publisher=Bloomsbury |isbn=978-1-350-02982-8}}</ref>
* ''Kant's Legacy: Essays in Honor of Lewis White Beck'' Editor: Predrag Cicovacki. Contributor: Robert L. Holmes -"Consequentialism and its Consequences".<ref>{{Cite book |last=Cicovacki |first=Predrag |url=https://books.google.com/books?id=SWg9hOtdzIIC&q=Robert+Holmes |title=Kant's Legacy: Essays in Honor of Lewis White Beck |date=2001 |publisher=University Rochester Press |isbn=978-1-58046-053-8}}</ref>
* ''Nonviolence in Theory and Practice'' by Robert L. Holmes and Barry L. Gan <ref>{{Cite book |last1=Holmes |first1=Robert L. |url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms |title=Nonviolence in Theory and Practice |last2=Gan |first2=Barry L. |date=2005 |publisher=Waveland Press |isbn=978-1-57766-349-2}}</ref>
* ''On War and Morality'' by Robert L. Holmes <ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=TBoABAAAQBAJ&q=Robert+L.+Holms |title=On War and Morality |date=14 July 2014 |publisher=Princeton University Press |isbn=978-1-4008-6014-2}}</ref>
* ''Philosophic Inquiry: An Introduction to Philosophy'' by Lewis White Beck and Robert L. Holmes <ref name="Prentice-Hall"/>
* ''Pacifism: A Philosophy of Nonviolence'' by Robert L. Holmes<ref name="Pacifism-2016">{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=Dq4mDQAAQBAJ&q=pacifism+holmes |title=Paficism: A Philosophy of Nonviolence |date=December 2016 |publisher=Bloomsbury |isbn=978-1-4742-7983-3 |pages=368– |accessdate=4 December 2016}}</ref>
* ''The Ethics of Nonviolence - Essays by Robert L. Holmes'' Editor: Predrag Cicovacki, Bloomsbury, USA on books.google.com<ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=0XbHAgAAQBAJ&q=Robert+L.+Holms |title=The Ethics of Nonviolence: Essays by Robert L. Holmes |date=20 June 2013 |publisher=Bloomsbury Publishing USA |isbn=978-1-62356-580-0}}</ref><ref name="Holmes"/>
* ''The Augustinian Tradition'' Editor: Gareth B. Matthews. Contributor: Robert L. Holmes - "St. Augustine and the Just War Theory"<ref>{{Cite book |last=Matthews |first=Gareth B. |url=https://books.google.com/books?id=ky6itexKzWcC&q=%2522Robert+L.+Holmes%2522+-wikipedia |title=The Augustinian Tradition |date=1999 |publisher=University of California Press |isbn=978-0-520-21001-1 |language=en}}</ref>

===Journal articles===
Selected peer-reviewed articles published by Robert L. Holmes include:<ref>[https://scholar.google.com/scholar?q=%22Robert+L.+Holmes%22 ''Robert L. Holmes'' on scholar.google.com]</ref>

* "The Metaethics of Pacifism and Just War Theory". ''[[Philosophical Forum]] Quarterly'' (2015):2-15<ref name=":0" />
* "Just War: Principles and Causes". ''[[International Philosophical Quarterly]]''(1997):483-484<ref name="Holmes 1997 483–484"/>
* "The Limited Relevance of Analytical Ethics to the Problems of Bioethics." ''[[The Journal of Medicine and Philosophy]]'' (1990):143-159<ref name="Holmes 1990 143–159"/>
* "Is Morality a System of Hypothetical Imperatives?". ''[[Analysis (journal)|Analysis]]'' (1974):96-100<ref name="Holmes 1974 96–100"/>
* "University Neutrality and ROTC". ''[[Ethics (journal)|Ethics]]''(1973):177<ref>{{Cite journal |last=Holmes |first=Robert L. |date=1973 |title=University Neutrality and ROTC |url=https://www.journals.uchicago.edu/doi/abs/10.1086/291878?journalCode=et |journal=Ethics |volume=83 |issue=3 |pages=177–195 |doi=10.1086/291878}}</ref>
* "John Dewey's Social Ethics". ''[[The Journal of Value Inquiry]]'' (1973):274-280<ref>{{Cite journal |last=Holmes |first=Robertl. |date=1973 |title=John Dewey's social ethics |url=https://link.springer.com/article/10.1007%2FBF00208793?LI=true |journal=The Journal of Value Inquiry |volume=7 |issue=4 |doi=10.1007/BF00208793}}</ref>
* "John Dewey's Moral Philosophy in Contemporary Perspective". ''[[The Review of Metaphysics]]'' (1966):42-70<ref name="Holmes 1966 42–70"/>
* "The Development of John Dewey's Ethical Thought". ''[[The Monist]]''(1964):392-406<ref name="Holmes 1964 392–406"/>
* "The Case Against Ethical Naturalism". ''[[Mind (journal)|Mind]]'' (1964):291-295<ref name="Holmes 1964 291–295"/>

==See also==
* [[Nonviolence]]
* [[Mahatma Gandhi]]
* [[Pacifism]]
*[[Kantian ethics]]
{{Portal bar|Philosophy}}

==References==
{{Reflist}}

==External links==
* [https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=Robert+L.+Holmes&btnG= Robert L. Holmes' publications on Google Scholar]
*[https://philpapers.org/s/Robert%20Holmes Robert L. Holmes' publications on Philpapers.org]
* [https://books.google.com/books?id=BxH7CAAAQBAJ&q=Robert+L.+Holms ''Basic Moral Philosophy'' by Robert L. Holmes on books.google.com]
* [https://books.google.com/books?id=TBoABAAAQBAJ&q=Robert+L.+Holms ''On War and Morality'' by Robert L. Holmes on books.google.com]
* [https://books.google.com/books?id=0XbHAgAAQBAJ&q=Robert+L.+Holms ''The Ethics of Nonviolence - Essays by Robert L. Holmes'' Editor: Predrag Cicovacki on books.google.com]
* [https://books.google.com/books?id=a6BIDwAAQBAJ&q=Robert+L.+Holms ''Introduction to Applied Ethics'' by Robert L.Holmes on books.google.com]
* [https://books.google.com/books?id=SWg9hOtdzIIC&q=Robert+Holmes ''Kant's Legacy: Essays in Honor of Lewis White Beck'' Editor: Predrag Cicovacki. Contributor: Robert L. Holmes -"Consequentialism and its Consequences" on books.google.com]
* [https://books.google.com/books?id=ky6itexKzWcC&q=%22Robert+L.+Holmes%22+-wikipedia ''The Augustinian Tradition'' Editor: Gareth B. Matthews. Contributor: Robert L. Holmes - "St. Augustine and the Just War Theory" on books.google.com]
* [https://www.worldcat.org/search?q=Robert+L.+Holmes&dblist=638&fq=ap%3A%22holmes+robert+l%22&qt=facet_ap%3A ''Robert L. Holmes'' on worldcat.org]

{{Authority control}}

{{DEFAULTSORT:Holmes, Robert L.}}
[[Category:1935 births]]
[[Category:20th-century American male writers]]
[[Category:20th-century American non-fiction writers]]
[[Category:20th-century American philosophers]]
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[[Category:21st-century American philosophers]]
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[[Category:American ethicists]]
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[[Category:American male non-fiction writers]]
[[Category:American pacifists]]
[[Category:American philosophy academics]]
[[Category:American political philosophers]]
[[Category:Analytic philosophers]]
[[Category:Harvard University alumni]]
[[Category:Academic staff of Jawaharlal Nehru University]]
[[Category:Living people]]
[[Category:American nonviolence advocates]]
[[Category:American philosophers of culture]]
[[Category:Philosophers of history]]
[[Category:American philosophers of social science]]
[[Category:Philosophers of war]]
[[Category:Philosophy writers]]
[[Category:Theorists on Western civilization]]
[[Category:University of Michigan alumni]]
[[Category:University of Rochester faculty]]
[[Category:American lecturers]]

Journal of the History of Ideas

2024-10-29T22:58:51Z

160.72.80.178: ''Included link and reference citation for Lewis White Beck -former member of the editorial board''~~~~NHPL

{{Infobox journal
| title = Journal of the History of Ideas
| cover = JHIthumbnail.gif
| editor = Manan Ahmed, Martin J. Burke, Stefanos Geroulanos, Ann E. Moyer, Sophie Smith, Don Wyatt
| discipline = [[Intellectual history]]
| abbreviation = J. Hist. Ideas
| publisher = [[University of Pennsylvania Press]]
| country = United States
| frequency = Quarterly
| history = 1940–present
| openaccess =
| impact =
| impact-year =
| website = http://jhi.pennpress.org/
| link1 = http://muse.jhu.edu/journals/journal_of_the_history_of_ideas/
| link1-name = Online access
| link1-at = [[Project MUSE]]
| ISSN = 0022-5037
| eISSN = 1086-3222
| JSTOR = 00225037
| OCLC = 884607792
| LCCN = 42051802
}}

The '''''Journal of the History of Ideas''''' is a quarterly [[peer-reviewed]] [[academic journal]] covering [[intellectual history]], [[conceptual history]], and the [[history of ideas]], including the histories of [[History of philosophy|philosophy]], [[History of literature|literature]] and the [[History of art|arts]], [[History of science|natural]] and [[History of social science|social sciences]], [[History of religion|religion]], and political thought.

The journal was established in 1940 by [[Arthur Oncken Lovejoy]] and [[Philip P. Wiener]] and has been published by the [[University of Pennsylvania Press]] since 2006. In addition to the print version, current issues are available electronically through [[Project MUSE]], and earlier ones through [[JSTOR]]. The [[editors-in-chief]] are [[Manan Ahmed]] ([[Columbia University]]), [[Martin J. Burke]] ([[City University of New York]]), [[Stefanos Geroulanos]] ([[New York University]]), [[Ann E. Moyer]] ([[University of Pennsylvania]]), Sophie Smith ([[University of Oxford]]), and [[Don Wyatt]] ([[Middlebury College]]). Distinguished former editors include [[Arthur Oncken Lovejoy|Arthur Lovejoy]], [[John Herman Randall Jr.|John Herman Randall]], [[Paul Oskar Kristeller]], [[Philip P. Wiener]], [[Donald R. Kelley|Donald Kelley]], [[Lewis White Beck]]<ref name="Meerbote1997">{{cite journal | last=Meerbote | first=Ralf | title=Lewis White Beck (1913–1997) | journal=Kantian Review | volume=1 |year=1997 | issn=1369-4154 | doi=10.1017/S1369415400000145 | pages=186–187}}</ref>
and [[Anthony Grafton]]. Since 2015, the Journal is complemented by a blog, which publishes short articles and interviews related to intellectual history.

== Abstracting and indexing ==
The journal is abstracted and indexed in:
{{columns-list|colwidth=30em|
* [[America: History and Life]]
* [[Annual Bibliography of English Language and Literature]]
* [[Arts and Humanities Citation Index]]
* [[Bibliography of the History of Art]]
* [[CSA Worldwide Political Science Abstracts]]
* [[Current Contents]]/Arts & Humanities
* [[Historical Abstracts]]
* [[International Bibliography of the Social Sciences]]
* [[L'Année Philologique]]
* [[MLA International Bibliography]]
* [[Philosopher's Index]]
* [[RILM Abstracts of Music Literature]]
}}

== Further reading ==
* {{cite book |last=Stieg |first=Margaret F. |title=The Origin and Development of Scholarly Historical Periodicals |location=Tuscaloosa |publisher=[[University of Alabama Press]] |year=1986 |isbn=0-8173-0273-5 |chapter=Topical Specialization: The ''Zeitschrift für Sozial- und Wirtschaftsgeschichte'', the ''Catholic Historical Review'', and the ''Journal of the History of Ideas'' |pages=103–123 }}

==References==
{{Reflist}}

== External links ==
{{Commonscatinline}}
* {{Official website|http://jhi.pennpress.org/}}
* [http://jhiblog.org/ Website of the Journal of the History of Ideas Blog]
* [https://muse.jhu.edu/journal/91 Issues from Volume 57 (1996) through current issue]
* [https://www.jstor.org/journal/jhistoryideas Issues from Volume 1 (1940) through 2019]

{{Philosophy journals|state=collapsed}}
{{Authority control}}

[[Category:History journals]]
[[Category:History of philosophy journals]]
[[Category:Academic journals established in 1940]]
[[Category:English-language journals]]
[[Category:Quarterly journals]]
[[Category:University of Pennsylvania Press academic journals]]

{{Philo-hist-journal-stub}}

Kant-Studien

2024-10-29T22:28:53Z

160.72.80.178: ''Included links and references forLewis White Beck and :de:Gottfired Martin - former members of the editorial board of Kant-Studien"~~~~NHPL

{{Infobox Journal
| title = Kant-Studien
| abbreviation = Kant-Stud.
| history = 1897–present
| frequency =
| discipline = [[Philosophy]]
| language = English German
| ISSN = 0022-8877}}
'''''Kant-Studien''''' ("Kant Studies") is a quarterly journal of [[philosophy]], focusing on [[Immanuel Kant]].<ref name=ksde/> The journal was established in 1897.<ref name=ksde>{{cite web|title=Kant-Studien |url=https://www.degruyter.com/journal/key/KANT/html|publisher=De Gruyter|access-date=31 July 2021}}</ref> It publishes articles in English and German.<ref name=ksde/>

Over the decades the editorial board of ''Kant-Studien'' has included such internationally noted Kantian scholars as [[:de:Gottfried Martin|Gottfried Martin]] at the [[University of Bonn]] in Germany (1953-1965) and [[Lewis White Beck]] at the [[University of Rochester]] in the United States.<ref>[https://www.degruyter.com/document/doi/10.1515/kant.1997.88.4.385/html?lang=en "Lewis White Beck in memoriam". Seebohm, Thomas M. Kant-Studien 88. Jahrg., S. 38 1997 Lewis White Beck Memoriam on Google]</ref><ref name="Meerbote1997">{{cite journal | last=Meerbote | first=Ralf | title=Lewis White Beck (1913–1997) | journal=Kantian Review | volume=1 |year=1997 | issn=1369-4154 | doi=10.1017/S1369415400000145 | pages=186–187}}</ref>

==See also==
* [[List of philosophy journals]]

==References==
{{Reflist}}

==External links==
* [http://www.kant.uni-mainz.de/Studien.htm ''Kant-Studien'' – Philosophische Zeitschrift der Kant-Gesellschaft]

{{Authority control}}
{{DEFAULTSORT:Kant Studies}}
[[Category:Bilingual magazines]]
[[Category:De Gruyter academic journals]]
[[Category:Journals about philosophers]]
[[Category:Academic journals established in 1897]]
[[Category:Quarterly journals]]
[[Category:Works about Immanuel Kant]]

{{philosophy-journal-stub}}

North American Kant Society

2024-10-29T21:26:38Z

160.72.80.178: ''Included link and references for Lewis White Beck who cofounded the society in 1985''~~~~NHPL

{{Infobox institute
|name = North American Kant Society
|image =
|image_size =
|image_alt =
|caption =
|latin_name =
|motto =
|founder = [[Lewis White Beck]] (Cofounder)
|established = 1985
|mission = The study of [[Kantian philosophy]]
|focus =
|president = [[Andrew Chignell]]
|chairman =
|head_label =
|head =
|faculty =
|adjunct_faculty =
|staff =
|key_people = [[Huaping Lu-Adler]]
|budget =
|endowment =
|debt =
|num_members =
|subsidiaries =
|owner =
|non-profit_slogan =
|former_name =
|location =
|coor =
|address =
|website = https://northamericankantsociety.org/
|footnotes =
}}

'''North American Kant Society''' ('''NAKS''') is an organization whose purpose is to advance the study of [[Kantian thought]] and scholarship. It was established in 1985.<ref>{{cite web|title=North American Kant Society Studies in Philosophy|url=https://www.cambridge.org/core/series/north-american-kant-society-studies-in-philosophy/FFC02AA64832D7D76C07A3C1DBCC7D1C?p=3|website=Cambridge Core|accessdate=13 January 2018|language=en}}</ref><ref>{{cite web|title=Midwest Study Group of the North American Kant Society|url=http://publish.uwo.ca/~cdyck5/MWNAKS/index.html|website=publish.uwo.ca|accessdate=13 January 2018}}</ref><ref>{{cite web|title=North American Kant Society Studies in Philosophy - Boydell and Brewer|url=https://boydellandbrewer.com/series/north-american-kant-society-studies-in-philosophy.html|website=boydellandbrewer.com|accessdate=13 January 2018|language=en}}</ref>

The internationally noted Kantian scholar [[Lewis White Beck]] contributed to the founding of the North American Kant Society in 1985 while fostering cooperative research into the works of Kant among scholars in both the United States and Germany during the twentieth century.<ref name="Meerbote1997">{{cite journal | last=Meerbote | first=Ralf | title=Lewis White Beck (1913–1997) | journal=Kantian Review | volume=1 |year=1997 | issn=1369-4154 | doi=10.1017/S1369415400000145 | pages=186–187}}</ref><ref>[https://www.degruyter.com/document/doi/10.1515/kant.1997.88.4.385/html?lang=en "Lewis White Beck in memoriam". Seebohm, Thomas M. Kant-Studien 88. Jahrg., S. 38 1997 Lewis White Beck Memoriam on Google]</ref><ref>[https://www.jstor.org/stable/2106957?seq=1 "Proceedings of the Third International Kant Congress" Beck, Lewis White.''Philosophy and Phenomenological Research'' Vol. 33, No. 3 (Mar., 1973), pp. 429–431 Lewis White Beck North American Kant Society on Google]</ref>

==Awards==
*Markus Herz Prize for Graduate Students
*NAKS/Kantian Review Wilfrid Sellars Essay Prize for Early Career Scholars
*Senior Scholar Article and Book Prizes

==See also==
*[[North American Nietzsche Society]]

==References==
{{Reflist}}

==External links==
*[https://northamericankantsociety.org/ Official website]

[[Category:Philosophical societies in the United States]]
[[Category:1985 establishments in the United States]]
[[Category:Organizations established in 1985]]
[[Category:American philosophy]]
[[Category:Immanuel Kant]]

{{philo-org-stub}}

Talk:Just war theory

2024-10-28T23:44:35Z

160.72.80.178: /* Included a new section */ new section

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== Person box misplaced ==
Removed <nowiki>{{Thomism}}</nowiki>-[[User:Inowen|Inowen]] ([[User talk:Inowen|nlfte]]) 23:00, 23 November 2018 (UTC)

== Yes, Globalization does involve just war theory ==
Even the [[globalization]] notes how it involves war. The absence of the words "just war theory" is a poor excuse to corrupt how globalization relates to war and thus the just war theory[[User:JoeScarce|JoeScarce]] ([[User talk:JoeScarce|talk]]) 21:12, 9 August 2019 (UTC)
:: Source what you mentioned does not say about just war, does not mention unjust war, no denouncing, not mentioning official position of church. This is just war theory article. Content is about that. You made a lot of personal conclusion on different articles and many of that isnt mentioned in that pope interview. It is just your personal conclusion. Wikipedia is not about personal conclusions and activism it is about facts. [[Special:Contributions/93.86.91.234|93.86.91.234]] ([[User talk:93.86.91.234|talk]]) 21:26, 9 August 2019 (UTC)
Your personal conclusion is very ridiculous.[[User:JoeScarce|JoeScarce]] ([[User talk:JoeScarce|talk]]) 21:28, 9 August 2019 (UTC)
: seems you dont get what theory is and what theory definition take and what content is. Advocacy or pov opinions, you should leave to own blog or twitter or something, not to wikipedia. Pushing own views can take you just to be blocked. [[Special:Contributions/93.86.91.234|93.86.91.234]] ([[User talk:93.86.91.234|talk]]) 21:33, 9 August 2019 (UTC)
Seems like your opinion is only laughable to me. Others seem to revert the bias deletions you made to some of my other edits on other articles as well. Let's work as team and follow the NPOV policy[[User:JoeScarce|JoeScarce]] ([[User talk:JoeScarce|talk]]) 21:46, 9 August 2019 (UTC)
::You cherrypicked stuff and made own conclusion and you cant make any argument at all.[[Special:Contributions/93.86.91.234|93.86.91.234]] ([[User talk:93.86.91.234|talk]]) 21:50, 9 August 2019 (UTC)
No, you can't make an argument at all and are making me laugh. It's the reason why you went to talk to someone with a Che Guevara poster, which also shows bias in me potentially getting blocked.[[User:JoeScarce|JoeScarce]] ([[User talk:JoeScarce|talk]]) 21:52, 9 August 2019 (UTC)
:: sorry but you dont play fair and you use wikipedia as promotional tool. I dont know what your motives are but it is just strange and funny.[[Special:Contributions/93.86.91.234|93.86.91.234]] ([[User talk:93.86.91.234|talk]]) 21:57, 9 August 2019 (UTC)
There is no correlation. So, no need to add that to this article [[User:Banovicmiki14|Banovicmiki14]] ([[User talk:Banovicmiki14|talk]]) 01:42, 13 August 2019 (UTC)
-----
{{re|JoeScarce}} The page was protected [[m:Wrong version|randomly]] on the version in which I found it at. Please don't cast [[WP:ASPERSIONS|aspersions]]. Stick to the material with the aim of demonstrating that your edit does not, in fact, constitute [[WP:NOR|original research]] or [[WP:SYNTH|synthesis]]. Which may well be the case. Avoid personal comments, at any case. Thanks. [[User:El_C|El_C]] 21:59, 9 August 2019 (UTC)

== Ancient Egypt ==

The paragraph on Egypt doesn't make sense. The point of the just war theory is to establish the absolute limits to availability of war for any politician. The paragraph basically describes that Egyptians were so imperialist (to use the modern terminology) and jingoistic, that basically any conquest of the surrounding nations was justified as “white man’s burden” of the Ancient times, i.e., that there were basically no limits, even theoretical ones, for Egyptian pharao to conduct a war at will. [[User:Ceplm|Ceplm]] ([[User talk:Ceplm|talk]]) 21:20, 16 July 2021 (UTC)

== Other branches of Christianity ==

The part talking about Christian talks about Catholic Christianity and only adds the Russian Orthodox Church as a subsection. The views written in the section are not universal among Christians. The New Testament and pacifism is not linked at all in this page which it should be in the section of Christianity. [[Special:Contributions/93.109.80.5|93.109.80.5]] ([[User talk:93.109.80.5|talk]]) 16:40, 1 April 2023 (UTC)
:[[Christian pacifism]] has its own article, but you should note that pacifist groups like the [[Anabaptists]] and the [[Christadelphians]] have had a rather minor impact on military history. [[User:Dimadick|Dimadick]] ([[User talk:Dimadick|talk]]) 08:16, 2 April 2023 (UTC)

==Wiki Education assignment: Human Security==
{{dashboard.wikiedu.org assignment | course = Wikipedia:Wiki_Ed/University_of_Missouri_-_Kansas_City/Human_Security_(Fall_2024) | assignments = [[User:TheGambler300|TheGambler300]], [[User:FootballDinosaur1|FootballDinosaur1]], [[User:SunriseSunset453|SunriseSunset453]], [[User:SilentSnickers|SilentSnickers]] | reviewers = [[User:TwohandleS11I|TwohandleS11I]], [[User:Roxytilly333|Roxytilly333]] | start_date = 2024-08-19 | end_date = 2024-12-06 }}

— Assignment last updated by [[User:Bestrh|Bestrh]] ([[User talk:Bestrh|talk]]) 16:29, 7 October 2024 (UTC)

== Restoration of links to [[Robert L. Holmes]] and [[Barry L. Gan]] ==

Ciao fellow Wikipedia editors: Just a quick note to explain the restoration of links to the professional philosphers [[Robert L. Holmes]] and [[ Barry L. Gan]] within additional text for the section '''Just War Traditiion''' which was deleted on several instances by User:2804:7f4:3d80:1554:d701:62fe:29ab:cc2d on March 15, 2024 and March 7, 2024. In both instances User:2804:7f4:3d80:1554:d701:62fe:29ab:cc2d cited the additional text as "undue weight" and "self promotional". These objections seem unjustified in so far as:
:1) The proposed text is included within a paragraph which already contains multiple links to several contemporary philosophers and scholars including: [[Jacques Maritain]], [[Elizabeth Anscombe]] and [[John Finnis]]. each of whom cited the principles contained with the '''Just War Tradition''' to render ethical justifications for the Spanish Civil War, World War II and the Cold War. None of these links are considered self-promotional within the context of the narrative. In addition, the texts and publications by Prof. Holmes and Prof. Gan are merely cited as references and are not explicitly mentioned or promoted by name or by title within the text itself.
:2) The links to the scholarly works by [[Robert L. Holmes]]and [[Barry L. Gan]] are actually relevant (and not "over weighted") to the section on '''Just War Tradition''' in so far as they demonstrate that in the post [[Cold War]] era, some philosophical scholars objected to simply continuing to judge warfare as a "mater of course" by adopting an appeal to classical "Just War Theory" maxims. Instead, these scholars questioned whether the ethical foundations of these ethical maxims retained any relevance within the context of modern forms of waging war. The references also serve to document the philosophical "weight" or importance of the contributions made by each of these professional scholars in so far as they are sourced from professional peer reviewed journals on JSTOR.ORG and are open for all to read from within the reference citations. <ref name=":0">{{Cite journal |last=Holmes |first=Robert L. |date=2015 |title=The Metaethics of Pacifism and Just War Theory |url=https://onlinelibrary.wiley.com/doi/abs/10.1111/phil.12052 |journal=The Philosophical Forum |volume=46 |pages=3–15 |doi=10.1111/phil.12052}}</ref><ref>{{Cite book |last=Matthews |first=Gareth B. |url=https://books.google.com/books?id=ky6itexKzWcC&q=%2522Robert+L.+Holmes%2522+-wikipedia |title=The Augustinian Tradition: "St. Augutine and the Just War Theory" |date=1999 |publisher=University of California Press |isbn=978-0-520-21001-1 |language=en}}</ref><ref>{{Cite book |last1=Holmes |first1=Robert L. |url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms |title=Nonviolence in Theory and Practice |last2=Gan |first2=Barry L. |date=2005 |publisher=Waveland Press |isbn=978-1-57766-349-2}}</ref><ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref>
I Hope that this helps to clarify the inclusion of these links into the paragraph. Thanks again for your thoughtful assistance and HAPPY EDITING! Respectfully, 21:38, 15 October 2024 (UTC)NHPL
{[reflist}} [[Special:Contributions/160.72.80.178|160.72.80.178]] ([[User talk:160.72.80.178|talk]]) 21:38, 15 October 2024 (UTC)
::These observations seem relevant and tend to support the additional content as proposed. I attempted a small rewording of the text to clarify that even as Just War Theory norms were continuously utilized to justify warfare in the modern era, several contemporary scholars such as Holms and Gan endeavored to establish whether the philosophical foundations of the Just War Doctrine remain consistent with established normative [[ontological]] ethical standards and therefore remain relevant within the context of modern nuclear warfare. I hope it helps. I also undid the deletion of the proposed text by [[User:remsense]] as per [[Wikipedia:UNRESPONSIVE]] in so far as he failed to reply to either of the justifications for the new text which were presented by User:160.72.80.178. I hope that this is OK as well. Good luck with the revisions, and thanks again.[[Special:Contributions/160.72.81.86|160.72.81.86]] ([[User talk:160.72.81.86|talk]]) 16:57, 16 October 2024 (UTC)GCL[[Special:Contributions/160.72.81.86|160.72.81.86]] ([[User talk:160.72.81.86|talk]]) 16:58, 16 October 2024 (UTC)GCL

== Included a new section ==

Hi fellow authors: just a quick note-- I included a new section on Criticisms of just War theory, i Hope it helps. Cia [[Special:Contributions/160.72.80.178|160.72.80.178]] ([[User talk:160.72.80.178|talk]]) 23:44, 28 October 2024 (UTC)NHPL

Just war theory

2024-10-28T23:43:40Z

160.72.80.178: ''included a new section for Criticisms of Just War Theory. I hope it is OK See talk page''~~~~NHP

{{short description|Doctrine about when a war is ethically just}}
{{redirect|Just war|the 1996 science fiction novel|Just War (novel)}}
{{use dmy dates|date=July 2021}}
[[File:Gerard Seghers (attr) - The Four Doctors of the Western Church, Saint Augustine of Hippo (354–430).jpg|thumb|[[Augustine of Hippo|Saint Augustine]] was the first clear advocate of just-war theory.]]
{{war}}
The '''just war theory''' ({{langx|la|bellum iustum}})<ref>{{Cite book |last1=Cicero |first1=Marcus Tullius |url=http://archive.org/details/deofficiiswithen00ciceuoft |title=De officiis. With an English translation by Walter Miller |last2=Miller |first2=Walter |date=1913 |publisher=London Heinemann |others=Robarts - University of Toronto}}</ref><ref>{{Cite book |last1=Fellmeth |first1=Aaron X. |chapter=Bellum iustum |date=2009 |chapter-url=https://www.oxfordreference.com/view/10.1093/acref/9780195369380.001.0001/acref-9780195369380-e-285 |title=Guide to Latin in International Law |publisher=Oxford University Press |language=en |doi=10.1093/acref/9780195369380.001.0001 |isbn=978-0-19-536938-0 |access-date=2022-02-27 |last2=Horwitz |first2=Maurice}}</ref> is a [[doctrine]], also referred to as a tradition, of [[military ethics]] that aims to ensure that a war is morally justifiable through a series of [[#Criteria|criteria]] for a [[war]] to be considered as just. It has been studied by military leaders, theologians, [[ethicist]]s and policymakers. The criteria are split into three groups: {{lang|la|[[#Jus ad bellum|jus ad bellum]]}} ("right to go to war"), {{lang|la|[[#Jus in bello|jus in bello]]}} ("right conduct in war"), and (''[[jus post bellum]]'') ("right after the war"). The first group of criteria concerns the [[morality]] of going to war, the second group of criteria concerns the moral conduct within war,<ref name="Tradition">{{cite book |last1=Guthrie |first1=Charles |last2=Quinlan |first2=Michael |year=2007 |title= Just War: The Just War Tradition: Ethics in Modern Warfare |isbn= 978-0747595571 |pages=11–15 |chapter=III: The Structure of the Tradition |publisher=Bloomsbury }}</ref>the third group criteria concerns (''[[jus post bellum]]'') dealing with the morality of post-war settlement and reconstruction. The just war theory postulates the belief that war, while it is terrible but less so with the right conduct, is not always the worst option. The just war theory presents a justfiable means of war with justice being an objective of armed conflict.<ref>{{Cite book |last1=Andersen-Rodgers |first1=David |title=Human security: theory and action |last2=Crawford |first2=Kerry F. |date=2023 |publisher=Rowman & Littlefield |isbn=978-1-5381-5992-7 |edition=2nd |series=Peace and security in the 21st century |location=Lanham (Md.)}}</ref> Important responsibilities, undesirable outcomes, or preventable atrocities may justify war.<ref name="Tradition"/>

Opponents of the just war theory may either be inclined to a stricter [[Pacifism|pacifist]] standard (proposing that there has never been nor can there ever be a justifiable basis for war) or they may be inclined toward a more permissive [[Nationalism|nationalist]] standard (proposing that a war need only to serve a nation's interests to be justifiable). In many cases, [[Philosophy|philosophers]] state that individuals do not need to be plagued by a guilty conscience if they are required to fight. A few philosophers ennoble the virtues of the soldier while they also declare their apprehensions for war itself.<ref>{{Cite web|url=http://blogs.britannica.com/2010/03/william-james-on-peace-and-war/|title=William James on Peace and War|last=McHenry|first=Robert|date=22 March 2010|website=blogs.britannica.com|publisher=Britannica Blog|language=en-US|archive-url=https://web.archive.org/web/20151031190308/http://blogs.britannica.com/2010/03/william-james-on-peace-and-war/|archive-date=31 October 2015|url-status=dead|access-date=6 August 2017}}</ref> A few, such as [[Jean-Jacques Rousseau|Rousseau]], argue for insurrection against oppressive rule.

The historical aspect, or the "just war tradition", deals with the historical body of rules or agreements that have applied in various wars across the ages. The just war tradition also considers the writings of various philosophers and lawyers through history, and examines both their philosophical visions of war's ethical limits and whether their thoughts have contributed to the body of conventions that have evolved to guide war and warfare.<ref>{{Cite web|url=http://www.iep.utm.edu/justwar/|title=Just War Theory|website=Internet Encyclopedia of Philosophy|access-date=30 October 2016}}</ref>

In the [[21st century|twenty-first century]] there has been significant debate between traditional just war theorists, and [[revisionist just war theory|revisionists]] about whether the moral responsibility of the fallout of war should be placed on the soldiers or the actors/leaders

==Origins==
===Ancient Egypt===
A 2017 study found that the just war tradition can be traced as far back as to [[Ancient Egypt]].<ref name="cox">{{Cite journal|last=Cox|first=Rory|title=Expanding the History of the Just War: The Ethics of War in Ancient Egypt|journal=International Studies Quarterly|volume=61|issue=2|page=371|doi=10.1093/isq/sqx009|year=2017|hdl=10023/17848|hdl-access=free}}</ref> Egyptian ethics of war usually centered on three main ideas, these including the cosmological role of Egypt, the pharaoh as a divine office and executor of the will of the gods, and the superiority of the Egyptian state and population over all other states and peoples. Egyptian political theology held that the pharaoh had the exclusive legitimacy in justly initiating a war, usually claimed to carry out the will of the gods. [[Senusret I]], in the [[Twelfth Dynasty]], claimed, "I was nursed to be a conqueror...his [Atum's] son and his protector, he gave me to conquer what he conquered." Later pharaohs also considered their sonship of the god Amun-Re as granting them absolute ability to declare war on the deity's behalf. Pharaohs often visited temples prior to initiating campaigns, where the pharaoh was believed to receive their commands of war from the deities. For example, [[Kamose]] claimed that "I went north because I was strong (enough) to attack the Asiatics through the command of Amon, the just of counsels." A [[stele]] erected by [[Thutmose III]] at the Temple of Amun at [[Karnak]] "provides an unequivocal statement of the pharaoh's divine mandate to wage war on his enemies." As the period of the [[New Kingdom of Egypt|New Kingdom]] progressed and Egypt heightened its territorial ambition, so did the invocation of just war aid the justification of these efforts. The universal principle of [[Maat]], signifying order and justice, was central to the Egyptian notion of just war and its ability to guarantee Egypt virtually no limits on what it could take, do, or use to guarantee the ambitions of the state.<ref name="cox" />

===India===
The Indian [[Hinduism|Hindu]] [[Indian epic poetry|epic]], the ''[[Mahabharata]]'', offers the first written discussions of a "just war" (''[[dharma-yuddha]]'' or "righteous war"). In it, one of five ruling brothers (''[[Pandava]]s'') asks if the suffering caused by war can ever be justified. A long discussion then ensues between the siblings, establishing criteria like ''proportionality'' ([[Ratha|chariots]] cannot attack cavalry, only other chariots; no attacking people in distress), ''just means'' (no poisoned or barbed arrows), ''just cause'' (no attacking out of rage), and fair treatment of captives and the wounded.<ref>{{cite book |author1=Paul Robinson |title=Just War in Comparative Perspective |year=2017 |isbn=9781351924528 |page=|publisher=Routledge }}</ref>

In [[Sikhism]], the term ''[[Dharamyudh (Sikhism)|dharamyudh]]'' describes a war that is fought for just, righteous or religious reasons, especially in defence of one's own beliefs. Though some core tenets in the Sikh religion are understood to emphasise peace and nonviolence, especially before the 1606 execution of [[Guru Arjan]] by [[Mughal Empire|Mughal]] Emperor [[Jahangir]],<ref name="Syan">{{Cite book |last=Syan |first=Hardip Singh |url=https://books.google.com/books?id=9RzzxcEL4C0C&pg=PA3 |title=Sikh Militancy in the Seventeenth Century: Religious Violence in Mughal and Early Modern India |date=2013 |publisher=I.B.Tauris |isbn=9781780762500 |location=London & New York |pages=3–4, 252 |access-date=15 September 2019}}</ref> military force may be justified if all peaceful means to settle a conflict have been exhausted, thus resulting in a ''dharamyudh''.<ref name="Fenech">{{Cite book |author1=Louis E. Fenech |title=Historical Dictionary of Sikhism |author2=W. H. McLeod |date=2014 |publisher=Rowman & Littlefield |isbn=9781442236011 |pages=99–100}}</ref>

===East Asian===
[[Chinese philosophy]] produced a massive body of work on warfare, much of it during the [[Zhou dynasty]], especially the [[Warring States era]]. War was justified only as a last resort and only by the rightful sovereign; however, questioning the decision of the emperor concerning the necessity of a military action was not permissible. The success of a military campaign was sufficient proof that the campaign had been righteous.<ref>{{Cite journal | url=https://irstudies.org/index.php/jirs/article/view/777/753| title= A Confucian Contribution to the Catholic Just War Tradition| journal=Journal of Interreligious Studies | date=2023 | author= Kwon, David}}</ref>

[[Japan]] did not develop its own doctrine of just war but between the 5th and the 7th centuries drew heavily from Chinese philosophy, and especially [[Confucianism|Confucian]] views. As part of the Japanese campaign to take the northeastern island [[Honshu]], Japanese military action was portrayed as an effort to "pacify" the [[Emishi]] people, who were likened to "bandits" and "wild-hearted wolf cubs" and accused of invading Japan's frontier lands.<ref name="routledge2004">{{cite book|url=https://books.google.com/books?id=DROBAV-DQ9IC&pg=PA20|title=Samurai, Warfare and the State in Early Medieval Japan|first=Karl F.|last=Friday |author1-link=Karl Friday |publisher=Routledge | date=2004 |pages=21–22|isbn=9781134330225}}</ref>

===Ancient Greece and Rome===
The notion of just war in Europe originates and is developed first in [[ancient Greece]] and then in the [[Roman Empire]].<ref>Gregory Raymond, ''The Greco-Roman Roots of the Western Just War Tradition'', Routledge 2010.</ref><ref>Rory Cox, "The Ethics of War up to Thomas Aquinas" in (eds. Lazar & Frowe) ''The Oxford Handbook of Ethics of War'', Oxford 2018.</ref><ref>Cian O'Driscoll, "Rewriting the Just War Tradition: Just War in Classical Greek Political Thought and Practice," International Studies Quarterly (2015).</ref>

It was [[Aristotle]] who first introduced the concept and terminology to the [[Hellenic world]] that called war a last resort requiring conduct that would allow the restoration of peace. Aristotle argues that the cultivation of a military is necessary and good for the purpose of self-defense, not for conquering: "The proper object of practising military training is not in order that men may enslave those who do not deserve slavery, but in order that first they may themselves avoid becoming enslaved to others" ([[Politics (Aristotle)|Politics]], Book 7).<ref>{{cite web |last1=Aristotle |title=Politics, Book 7 |url=http://www.perseus.tufts.edu/hopper/text?doc=Perseus:abo:tlg,0086,035:7 |website=Perseus Digital Library}}</ref>

In [[ancient Rome]], a "just cause" for war might include the necessity of repelling an invasion, or retaliation for pillaging or a breach of treaty.<ref>Livy 9.1.10; [[Cicero]], ''[[Divinatio in Caecilium]]'' 63; ''De provinciis consularibus'' 4; ''Ad Atticum'' VII 14, 3; IX 19, 1; ''Pro rege Deiotauro'' 13; ''[[De officiis]]'' I 36; ''Philippicae'' XI 37; XIII 35; ''De re publica'' II 31; III 35; [[Isidore of Seville]], ''Origines'' XVIII 1, 2; [[Modestinus]], ''Libro I regolarum'' = ''[[Corpus Juris Civilis|Digesta]]'' I 3, 40; [[E. Badian]], ''Roman Imperialism in the Late Republic'' (Ithaca 1968, 2nd ed.), p.11.</ref> War was always potentially ''[[nefas]]'' ("wrong, forbidden"), and risked [[Religion in ancient Rome|religious pollution and divine disfavor]].<ref>[[William Warde Fowler]], ''The Roman Festivals of the Period of the Republic'' (London 1925), pp. 33ff.; M. Kaser, ''Das altroemische Ius'' (Goettingen 1949), pp. 22ff; P. Catalano, ''Linee del sistema sovrannazionale romano'' (Torino 1965), pp. 14ff.; W. V. Harris, ''War and imperialism in Republican Rome, 327-70 B.C.'' (Oxford 1979), pp. 161 ff.</ref> A "just war" (''bellum iustum'') thus required a ritualized [[declaration of war|declaration]] by the [[fetial]] priests.<ref>[[Livy]] 1.32; 31.8.3; 36.3.9</ref> More broadly, conventions of war and treaty-making were part of the ''[[ius gentium]]'', the "law of nations", the customary moral obligations regarded as innate and universal to human beings.<ref>Cicero, ''De officiis'' 3.17.69; [[Marcia L. Colish]], ''The Stoic Tradition from Antiquity to the Early Middle Ages'' (Brill, 1980), p. 150.</ref>

===Christian views===
Christian theory of the Just War begins around the time of [[Augustine of Hippo]]<ref>[http://olympia.anglican.org/churches/B/stdunstan/Beliefs/Christians_War/Christians_War_2.htm Christians and War: Augustine of Hippo and the "Just War theory"] {{webarchive |url=https://web.archive.org/web/20061128152303/http://olympia.anglican.org/churches/B/stdunstan/Beliefs/Christians_War/Christians_War_2.htm |date=28 November 2006 }}</ref> The Just War theory, with some amendments, is still used by
Christians today as a guide to whether or not a war can be justified. Christians may argue "Sometimes war may be necessary and right, even though it may not be good." In the case of a country that has been invaded by an occupying force, war may be the only way to restore justice. <ref>{{cite web |date=27 September 2024 |title=Forgiveness What is a Just War? |url=https://www.bbc.co.uk/bitesize/guides/z2b36yc/revision/4 |url-status=dead |archive-url=https://www.bbc.co.uk/bitesize/guides/zbygjxs/revision/5 |archive-date=27 September 2024 |access-date=11 May 2020 |website=Bitesize |publisher=[[BBC]]}}</ref>

====Saint Augustine====
[[Saint Augustine]] held that individuals should not resort immediately to violence, but God has given the sword to government for a good reason (based upon Romans 13:4). In ''Contra Faustum Manichaeum'' book 22 sections 69–76, Augustine argues that Christians, as part of a government, need not be ashamed of protecting peace and punishing wickedness when they are forced to do so by a government. Augustine asserted that was a personal and philosophical stance: "What is here required is not a bodily action, but an inward disposition. The sacred seat of virtue is the heart."<ref>{{cite web|url=http://www.christianitytoday.com/ct/2001/septemberweb-only/9-17-55.0.html|title=A Time For War?|author=Robert L. Holmes|work=ChristianityToday.com|date=September 2001 |access-date=25 April 2015}}</ref>

Nonetheless, he asserted, peacefulness in the face of a grave wrong that could be stopped by only violence would be a sin. Defense of oneself or others could be a necessity, especially when it is authorized by a legitimate authority:<blockquote>They who have waged war in obedience to the divine command, or in conformity with His laws, have represented in their persons the public justice or the wisdom of government, and in this capacity have put to death wicked men; such persons have by no means violated the commandment, "Thou shalt not kill."<ref name=":0b">{{cite web|url=http://etext.lib.virginia.edu/etcbin/toccer-new2?id=AugCity.xml&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=all |archive-url=https://web.archive.org/web/20130725190746/http://etext.lib.virginia.edu/etcbin/toccer-new2?id=AugCity.xml&images=images%2Fmodeng&data=%2Ftexts%2Fenglish%2Fmodeng%2Fparsed&tag=public&part=all |title=City of God |archive-date=25 July 2013 |access-date=25 April 2015 |url-status=dead }}</ref></blockquote>While not breaking down the conditions necessary for war to be just, Augustine nonetheless originated the very phrase itself in his work [[City of God (book)|''The City of God'']]:

<blockquote>But, say they, the wise man will wage Just Wars. As if he would not all the rather lament the necessity of just wars, if he remembers that he is a man; for if they were not just he would not wage them, and would therefore be delivered from all wars.<ref name=":0b"/></blockquote>

Augustine further taught:
<blockquote>No war is undertaken by a good state except on behalf of good faith or for safety.<ref >City of God, 22.6, quoted in {{cite web |last1=Lockwood |first1=Thornton |title=Cicero's Philosophy of Just War |url=https://philarchive.org/archive/LOCCPO |website=PhilArchive |access-date=28 July 2023}} The text seems from a missing fragment of [[Cicero]]'s dialog [[On the Republic]], by the Laelius character.</ref></blockquote>

J. Mark Mattox writes,<blockquote>In terms of the traditional notion of jus ad bellum (justice of war, that is, the circumstances in which wars can be justly fought), war is a coping mechanism for righteous sovereigns who would ensure that their violent international encounters are minimal, a reflection of the [[Will of God|Divine Will]] to the greatest extent possible, and always justified. In terms of the traditional notion of jus in bello (justice in war, or the moral considerations which ought to constrain the use of violence in war), war is a coping mechanism for righteous combatants who, by divine edict, have no choice but to subject themselves to their political masters and seek to ensure that they execute their war-fighting duty as justly as possible.<ref name="augustine_war_and_peace_just_war">[http://www.iep.utm.edu/aug-poso/#SH3c Augustine: Political and Social Philosophy], §3-c "War and Peace – The Just War"</ref></blockquote>

====Isidore of Seville====
[[Isidore of Seville]] writes:
<blockquote>Those wars are unjust which are undertaken without cause. For aside from vengeance or to fight off enemies no just war can be waged. <ref >Etymologies 18.1.2-3, quoted in {{cite web |last1=Lockwood |first1=Thornton |title=Cicero's Philosophy of Just War |url=https://philarchive.org/archive/LOCCPO |website=PhilArchive |access-date=28 July 2023}}. The text seems from a missing fragment of [[Cicero]]'s dialog [[On the Republic]], by the Laelius character.</ref></blockquote>

====Peace and Truce of God====
{{Main|Peace and Truce of God}}
The medieval [[Peace_and_Truce_of_God#Peace_of_God|Peace of God]] (Latin: {{lang|la|pax dei}}) was a 10th century mass movement in Western Europe instigated by the clergy that granted immunity from violence for non-combatants.

Starting in the 11th Century, the [[Peace_and_Truce_of_God#Truce_of_God|Truce of God]] (Latin: {{lang|la|treuga dei}}) involved Church rules that successfully limited when and where fighting could occur: Catholic forces (e.g. of warring [[baron]]s) could not fight each other on Sundays, Thursdays, holidays, the entirety of [[Lent]] and [[Advent]] and other times, severely disrupting the conduct of wars. The 1179 [[Third Council of the Lateran]] adopted a version of it for the whole church.

====Saint Thomas Aquinas====
{{See|Thomas Aquinas#Just war}}
[[File:Saint Thomas Aquinas Reading.png|thumb|[[Thomas Aquinas|Saint Thomas Aquinas]] contributed to the development of the just war theory in Medieval Europe. ]]
The just war theory by [[Thomas Aquinas]] has had a lasting impact on later generations of thinkers and was part of an emerging consensus in [[Medieval Europe]] on just war.<ref name=":1">{{Cite book|title=Thomas Aquinas on War and Peace|author=Gregory M. Reichberg|publisher=Cambridge University Press|year=2017|isbn=9781107019904|page=viii}}</ref> In the 13th century Aquinas reflected in detail on peace and war. Aquinas was a [[Dominican friar]] and contemplated the teachings of the Bible on peace and war in combination with ideas from [[Aristotle]], [[Plato]], [[Socrates]], [[Saint Augustine]] and other philosophers whose writings are part of the [[Western canon]]. Aquinas' views on war drew heavily on the {{lang|la|[[Decretum Gratiani]]}}, a book the Italian monk Gratian had compiled with passages from the Bible. After its publication in the 12th century, the {{lang|la|Decretum Gratiani}} had been republished with commentary from [[Pope Innocent IV]] and the Dominican friar [[Raymond of Penafort]]. Other significant influences on Aquinas just war theory were [[Alexander of Hales]] and [[Henry of Segusio]].<ref>{{Cite book|title=Thomas Aquinas on War and Peace|author=Gregory M. Reichberg|publisher=Cambridge University Press|year=2017|isbn=9781107019904|page=vii}}</ref>

In ''[[Summa Theologica]]'' Aquinas asserted that it is not always a [[sin]] to wage war, and he set out criteria for a just war. According to Aquinas, three requirements must be met. Firstly, the war must be waged upon the command of a rightful [[sovereign]]. Secondly, the war needs to be waged for just cause, on account of some wrong the attacked have committed. Thirdly, warriors must have the right intent, namely to promote good and to avoid evil.<ref>{{Cite book |last=Aquinas |first=Thomas |url=https://ccel.org/ccel/aquinas/summa/summa |title=Summa Theologica |publisher=Christian Classics Ethereal Library |pages=pt. II, sec. 2, q. 40, a. 1}}</ref><ref>{{Cite book|title=The Oxford Handbook of Ethics of War |editor=Seth Lazar |editor2=Helen Frowe|publisher=Oxford University Press|year=2018|isbn=9780199943418|page=114}}</ref> Aquinas came to the conclusion that a just war could be offensive and that injustice should not be tolerated so as to avoid war. Nevertheless, Aquinas argued that violence must only be used as a last resort. On the [[battlefield]], violence was only justified to the extent it was necessary. Soldiers needed to avoid cruelty and a just war was limited by the conduct of just combatants. Aquinas argued that it was only in the pursuit of justice, that the good intention of a moral act could justify negative consequences, including the killing of the innocent during a war.<ref>{{Cite book|title=The Oxford Handbook of Ethics of War |editor=Seth Lazar |editor2=Helen Frowe|publisher=Oxford University Press|year=2018|isbn=9780199943418|page=115}}</ref>

====Renaissance and Christian Humanists====
Various [[Renaissance humanists]] promoted [[Pacificist]] views.

* [[John Colet]] famously preached a Lenten sermon before Henry VIII, who was preparing for a war, quoting Cicero "Better an unjust peace rather than the justest war."<ref>{{cite journal |last1=MacKenzie |first1=Kathleen |title=John Colet of Oxford |journal=Dalhousie Review |volume=21 |issue=1 |pages=15–28 |url=https://dalspace.library.dal.ca/bitstream/handle/10222/57562/dalrev_vol21_iss1_pp15_28.pdf?sequence=1&isAllowed=y |access-date=28 July 2023}}</ref>
* [[Erasmus of Rotterdam]] wrote numerous works on peace which criticized Just War theory as a smokescreen and added [[Erasmus#Pacifism|extra limitations]], notably ''The Complaint of Peace'' and the ''[https://www.gutenberg.org/files/39487/39487-h/39487-h.htm Treatise on War]'' (Dulce bellum inexpertis).

A leading humanist writer after the Reformation was legal theorist [[Hugo Grotius]], whose [[Hugo_Grotius#De_Jure_Belli_ac_Pacis|''De jura belli ac pacis'']] re-considered Just War and fighting wars justly.

==== First World War ====
At the beginning of the [[First World War]], a group of theologians in [[Germany]] published a manifesto that sought to justify the actions of the German government. At the British government's request, [[Randall Davidson]], [[Archbishop of Canterbury]], took the lead in collaborating with a large number of other religious leaders, including some with whom he had differed in the past, to write a rebuttal of the Germans' contentions. Both German and British theologians based themselves on the just war theory, each group seeking to prove that it applied to the war waged by its own side.<ref>Mews, Stuart. "Davidson, Randall Thomas, Baron Davidson of Lambeth (1848–1930), Archbishop of Canterbury", [[Oxford Dictionary of National Biography]], [[Oxford University Press]], 2011.</ref>

====Contemporary Catholic doctrine====
The just war doctrine of the [[Catholic Church]] found in the 1992 ''[[Catechism of the Catholic Church]]'', in paragraph 2309, lists four strict conditions for "legitimate defense by military force:"<ref>{{cite book|title=Catechism of the Catholic Church|edition=2|publisher=Liberia Editrice Vaticana|isbn=1574551108|url=https://archive.org/details/catechismofcatho2000cath|access-date=25 April 2015|year=2000|url-access=registration}}</ref><ref>{{cite web|title=Just-War Theory, Catholic Morality, And The Response To International Terrorism.
|url=https://www.catholicculture.org/culture/library/view.cfm?id=4644|access-date=11 May 2020}}</ref>
* The damage inflicted by the aggressor on the nation or community of nations must be lasting, grave and certain.
* All other means of putting an end to it must have been shown to be impractical or ineffective.
* There must be serious prospects of success.
* The use of arms must not produce evils and disorders graver than the evil to be eliminated.

The ''[[Compendium of the Social Doctrine of the Church]]'' elaborates on the just war doctrine in paragraphs 500 to 501, while citing the [[Charter of the United Nations]]:<ref name="compendio">{{cite web|url=https://www.vatican.va/roman_curia/pontifical_councils/justpeace/documents/rc_pc_justpeace_doc_20060526_compendio-dott-soc_en.html|title=Compendium of the Social Doctrine of the Church|access-date=10 April 2024}}</ref>

{{quotation|If this responsibility justifies the possession of sufficient means to exercise this right to defense, States still have the obligation to do everything possible "to ensure that the conditions of peace exist, not only within their own territory but throughout the world". It is important to remember that "it is one thing to wage a war of self-defense; it is quite another to seek to impose domination on another nation. The possession of war potential does not justify the use of force for political or military objectives. Nor does the mere fact that war has unfortunately broken out mean that all is fair between the warring parties".

''The Charter of the United Nations ... is based on a generalized prohibition of a recourse to force to resolve disputes between States, with the exception of two cases: legitimate defence and measures taken by the Security Council within the area of its responsibilities for maintaining peace.'' In every case, exercising the right to self-defence must respect "the traditional limits of necessity and proportionality".

''Therefore, engaging in a preventive war without clear proof that an attack is imminent cannot fail to raise serious moral and juridical questions.'' International legitimacy for the use of armed force, on the basis of rigorous assessment and with well-founded motivations, can only be given by the decision of a competent body that identifies specific situations as threats to peace and authorizes an intrusion into the sphere of autonomy usually reserved to a State.||''[[Compendium of the Social Doctrine of the Church]]''<ref name="compendio"/>}}

Pope [[John Paul II]] in an address to a group of soldiers said the following:<ref>{{Cite web|url=https://www.catholiceducation.org/en/culture/catholic-contributions/the-church-s-just-war-theory-part-1.html/|title=The Church's Just War Theory|last=Saunders|first=William|website=Catholic Education Resource Center|date=19 October 2000 |language=en-US|access-date=10 May 2020}}</ref> {{Blockquote|Peace, as taught by Sacred Scripture and the experience of men itself, is more than just the absence of war. And the Christian is aware that on earth a human society that is completely and always peaceful is, unfortunately, an utopia and that the ideologies which present it as easily attainable only nourish vain hopes. The cause of peace will not go forward by denying the possibility and the obligation to defend it.}}

====Russian Orthodox Church====
The ''War and Peace'' section in the ''Basis of the Social Concept of the Russian Orthodox Church'' is crucial for understanding the [[Russian Orthodox Church]]'s attitude towards war. The document offers criteria of distinguishing between an aggressive war, which is unacceptable, and a justified war, attributing the highest moral and sacred value of military acts of bravery to a true believer who participates in a justified war. Additionally, the document considers the just war criteria as developed in Western Christianity to be eligible for Russian Orthodoxy; therefore, the justified war theory in Western theology is also applicable to the Russian Orthodox Church.<ref>{{cite journal|doi=10.3390/rel11010002|doi-access=free|title='Militant Piety in 21st-Century Orthodox Christianity: Return to Classical Traditions or Formation of a New Theology of War?|year=2019|last1=Knorre|first1=Boris|last2=Zygmont|first2=Aleksei|journal=Religions|volume=11|page=2}} [[File:CC-BY icon.svg|50px]] Text was copied from this source, which is available under a [https://creativecommons.org/licenses/by/4.0/ Creative Commons Attribution 4.0 International License].</ref>

In the same document, it is stated that wars have accompanied human history since the [[fall of man]], and according to [[the gospel]], they will continue to accompany it. While recognizing war as evil, the Russian Orthodox Church does not prohibit its members from participating in hostilities if there is the security of their neighbours and the restoration of trampled justice at stake. War is considered to be necessary but undesirable. It is also stated that the Russian Orthodox Church has had profound respect for soldiers who gave their lives to protect the life and security of their neighbours.<ref>{{cite web|url=https://mospat.ru/en/documents/social-concepts/viii/|title=Social Concepts, Chapter VIII.|language=en-US|access-date=10 May 2020|archive-date=9 June 2020|archive-url=https://web.archive.org/web/20200609115628/https://mospat.ru/en/documents/social-concepts/viii/|url-status=dead}}</ref>

===Just war tradition===
The just war theory, propounded by the medieval Christian philosopher [[Thomas Aquinas]], was developed further by legal scholars in the context of [[international law]]. [[Cardinal Cajetan]], the jurist [[Francisco de Vitoria]], the two [[Jesuit priest]]s [[Luis de Molina]] and [[Francisco Suárez]], as well as the [[humanist]] [[Hugo Grotius]] and the lawyer [[Luigi Taparelli]] were most influential in the formation of a ''just war tradition''. The just war tradition, which was well established by the 19th century, found its practical application in the [[Hague Peace Conferences]] (1899 and 1907) and in the founding of the [[League of Nations]] in 1920. After the [[United States Congress]] declared war on Germany in 1917, Cardinal [[James Gibbons]] issued a letter that all Catholics were to support the war<ref name=NCR>{{cite news|title=Ben Salmon and the Army of Peace |url= http://ncronline.org/blogs/road-peace/ben-salmon-and-army-peace |newspaper=[[National Catholic Reporter]] |author= John Dear |date= 23 February 2010}}</ref> because "Our Lord Jesus Christ does not stand for peace at any price... If by Pacifism is meant the teaching that the use of force is never justifiable, then, however well meant, it is mistaken, and it is hurtful to the life of our country."<ref>{{cite book|title= A History of the Parish of Trinity Church in the City of New York: The rectorship of Dr. William Thomas Manning 1908 to 1921|author=C. T. Bridgeman |year=1962|page=256}}</ref>

Armed conflicts such as the [[Spanish Civil War]], [[World War II]] and the [[Cold War]] were, as a matter of course, judged according to the norms (as established in Aquinas' just war theory) by philosophers such as [[Jacques Maritain]], [[Elizabeth Anscombe]] and [[John Finnis]].<ref name=":1" />

The first work dedicated specifically to ''just war'' was the 15th-century sermon ''De bellis justis'' of [[Stanisław of Skarbimierz]] (1360–1431), who justified war by the [[Kingdom of Poland (1385–1569)|Kingdom of Poland]] against the [[Teutonic Knights]].<ref>{{Cite book |last=David |first=Saul |chapter-url= https://books.google.com/books?id=8Llw8JSZEXYC&dq=De+bellis+justis+Stanis%C5%82aw+of+Skarbimierz&pg=PA345 |title= The Encyclopedia of War from Ancient Egypt to Iraq |date=2009-10-01 |publisher=Dorling Kindersley Limited |isbn= 978-1-4053-4778-5 |pages= 345 |language= en |chapter= Ethics of War |author-link= Saul David}}</ref> [[Francisco de Vitoria]] criticized the conquest of America by the [[History of Spain|Spanish]] [[conquistador]]s on the basis of just-war theory.<ref>{{Cite journal| url= https://lawreview.avemarialaw.edu/wp-content/uploads/2019/06/AMLR.v.10i2.salas_.pdf| title= Francisco de Vitoria on the Ius Gentium and the American Indios| journal= Ave Maria Law Review| date= 2012| author= Victor M. Salas Jr.| access-date= 11 July 2022| archive-date= 9 December 2021| archive-url= https://web.archive.org/web/20211209150822/https://lawreview.avemarialaw.edu/wp-content/uploads/2019/06/AMLR.v.10i2.salas_.pdf| url-status= dead}}</ref> With [[Alberico Gentili]] and [[Hugo Grotius]], just war theory was replaced by [[international law]] theory, codified as a set of rules, which today still encompass the points commonly debated, with some modifications.<ref>[[Gutman]] R, Rieff D. ''[[Crimes of War]]: What the Public Should Know''. New York, NY: [[W. W. Norton & Company]]; 1999</ref>

Just-war theorists combine a moral abhorrence towards war with a readiness to accept that war may sometimes be necessary. The criteria of the just-war tradition act as an aid in determining whether resorting to arms is morally permissible. Just-war theories aim "to distinguish between justifiable and unjustifiable uses of organized armed forces"; they attempt "to conceive of how the use of arms might be restrained, made more humane, and ultimately directed towards the aim of establishing lasting peace and justice".<ref>{{cite web |url=http://www.justwartheory.com/ |title=JustWarTheory.com |publisher=JustWarTheory.com |access-date=16 March 2010 |archive-date=6 March 2019 |archive-url=https://web.archive.org/web/20190306044341/http://www.justwartheory.com/ |url-status=dead }}</ref>

The just war tradition addresses the morality of the use of force in two parts: when it is right to resort to armed force (the concern of ''[[jus ad bellum]]'') and what is acceptable in using such force (the concern of ''[[jus in bello]]'').<ref>{{cite web|url= http://www.eppc.org/publications/pubID.1998/pub_detail.asp |title= Home > Publications > |publisher= Eppc.org |date= 1 September 1998 |access-date= 16 March 2010 |url-status= dead |archive-url= https://web.archive.org/web/20090509230737/http://www.eppc.org/publications/pubID.1998/pub_detail.asp |archive-date=9 May 2009}}</ref>

In 1869 the Russian military theorist [[Genrikh Antonovich Leer]] theorized on the advantages and potential benefits of war.<ref>
{{cite book| author1 = Genrikh Antonovich Leer |title = Opyt kritiko-istoricheskogo issledovaniya zakonov isskusstva vedeniya voyny|script-title = ru:Опыт критико-исторического исследования законов искусства ведения войны |trans-title = Critico-historical research into the laws of the art of the conduct of war |publication-date = 1869 |page = 1ff | publisher=Рипол Классик |isbn = 9785458055901}} </ref>

The [[Soviet Union|Soviet]] leader [[Vladimir Lenin]] defined only three types of just war.<ref>{{cite web|title= Just Wars in the Light of Marxism|publisher=Marxists Internet Archive|first= Erich|last= Wollenberg|url= https://www.marxists.org/history/etol/newspape/ni/vol03/no01/wollenberg.htm}}</ref>

<blockquote>But picture to yourselves a slave-owner who owned 100 slaves warring against a slave-owner who owned 200 slaves for a more "just" distribution of slaves. Clearly, the application of the term "defensive" war, or war "for the defense of the fatherland" in such a case would be historically false, and in practice would be sheer deception of the common people, of philistines, of ignorant people, by the astute slaveowners. Precisely in this way are the present-day imperialist bourgeoisie deceiving the peoples by means of "national ideology" and the term "defense of the fatherland" in the present war between slave-owners for fortifying and strengthening slavery.<ref>{{cite web|title=Socialism and War, ch. 1|publisher=Marxists Internet Archive|first= Vladimir|last= Lenin |url= https://www.marxists.org/archive/lenin/works/1915/s-w/ch01.htm}}</ref></blockquote>

The [[anarcho-capitalist]] scholar [[Murray Rothbard]] (1926-1995) stated that "a ''just'' war exists when a people tries to ward off the threat of coercive domination by another people, or to overthrow an already-existing domination. A war is ''unjust'', on the other hand, when a people try to impose domination on another people or try to retain an already-existing coercive rule over them."<ref>{{cite web |url= https://www.lewrockwell.com/1970/01/murray-n-rothbard/whats-a-just-war/ |title=Just War |access-date=26 June 2019 |author=Murray N. Rothbard |website= lewrockwell.com}}</ref>

[[Jonathan Riley-Smith]] writes:
<blockquote>The consensus among Christians on the use of violence has changed radically since the crusades were fought. The just war theory prevailing for most of the last two centuries—that violence is an evil that can, in certain situations, be condoned as the lesser of evils—is relatively young. Although it has inherited some elements (the criteria of legitimate authority, just cause, right intention) from the older war theory that first evolved around AD 400, it has rejected two premises that underpinned all medieval just wars, including crusades: first, that violence could be employed on behalf of Christ's intentions for mankind and could even be directly authorized by him; and second, that it was a morally neutral force that drew whatever ethical coloring it had from the intentions of the perpetrators.<ref>{{cite web |title= Rethinking the Crusades |publisher= Catholic Education Resource Center |first=Jonathan R. |last=Smith |url= http://www.catholiceducation.org/articles/history/world/wh0042.html | url-status = dead | archive-url = https://web.archive.org/web/20010723130919/http://www.catholiceducation.org/articles/history/world/wh0042.html |archive-date=23 July 2001}}</ref>
</blockquote>

== Traditionalists and Revisionists ==
Traditionalists<ref>{{Cite web |title=Traditionalist Definition |url=https://dictionary.cambridge.org/us/dictionary/english/traditionalist |url-status=live |access-date=October 27, 2024 |website=Cambridge Dictionary |publisher=Cambridge University Press & Assessment}}</ref>, individuals who are more apt to resist change and maintain tradition, and revisionists<ref>{{Cite web |title=Revisionist Definition |url=https://dictionary.cambridge.org/us/dictionary/english/revisionist?q=revisionists+ |url-status=live |access-date=October 27, 2024 |website=Cambridge Dictionary |publisher=Cambridge University Press & Assessment}}</ref>, individuals who are looking to change and analyze normative beliefs, debate the moral responsibilities of actors in [[jus in bello]].<ref name=":0">{{Cite journal |last=Pattison |first=James |date=2018 |title=The Case for the Nonideal Morality of War: Beyond Revisionism versus Traditionalism in Just War Theory |url=https://www.jstor.org/stable/26419464 |journal=Political Theory |volume=46 |issue=2 |pages=242–268 |issn=0090-5917}}</ref> when analyzing the Just War Theory.

=== Traditionalists ===
In the just war theory as it pertains to ''jus in bello'', traditionalist scholars view that the two principles, ''jus ad bellum'' and ''jus in bello'', are distinct in which actors in war are morally responsible. The traditional view places accountability on leaders who start the war, while soldiers are accountable for actions breaking ''jus in bello''.<ref name=":2">{{Cite journal |last=Sagan |first=Scott D. |last2=Valentino |first2=Benjamin A. |date=2019 |title=Just War and Unjust Soldiers: American Public Opinion on the Moral Equality of Combatants |url=http://dx.doi.org/10.1017/s0892679419000431 |journal=Ethics & International Affairs |volume=33 |issue=4 |pages=411–444 |doi=10.1017/s0892679419000431 |issn=0892-6794}}</ref>

=== Revisionists ===
Revisionist scholars view that moral responsibility in conduct of war is placed on individual soldiers who participate in war, even if they follow the rules associated with ''jus in bello''. Soldiers that participate in unjust wars are morally responsible. The revisionist view is based on an individual level, rather than on a collective whole.<ref>{{Cite book |last=Benestad |first=J. Brian |url=http://dx.doi.org/10.2307/j.ctt3fgpjc |title=Church, State, and Society |date=2012-08-09 |publisher=Catholic University of America Press |isbn=978-0-8132-1923-3}}</ref><ref name=":0" /><ref name=":2" />

==Criteria==

The just war theory has two sets of criteria, the first establishing ''jus ad bellum'' (the right to go to war), and the second establishing ''jus in bello'' (right conduct within war).<ref name=Childress>{{Cite journal|author=Childress, James F.|title=Just-War Theories: The Bases, Interrelations, Priorities, and Functions of Their Criteria|journal=Theological Studies|volume=39|issue=3|year=1978|pages=427–445|author-link=James Childress|doi=10.1177/004056397803900302|s2cid=159493143}}</ref>

===''Jus ad bellum''===
{{Main|Jus ad bellum}}The just war theory directs jus ad bellum to norms that aim to require certain circumstances to enable the right to go to war.<ref>{{Cite journal |last=Buchanan |first=Allen |date=January 2006 |title=Institutionalizing the Just War |url=https://onlinelibrary.wiley.com/doi/10.1111/j.1088-4963.2006.00051.x |journal=Philosophy Public Affairs |language=en |volume=34 |issue=1 |pages=2–38 |doi=10.1111/j.1088-4963.2006.00051.x |issn=0048-3915}}</ref>
;[[Competent authority]]: Only duly constituted public authorities may wage war. "A just war must be initiated by a political authority within a political system that allows distinctions of justice. Dictatorships (e.g. [[Adolf Hitler|Hitler]]'s regime) or deceptive military actions (e.g. the [[Operation Menu|1968 US bombing of Cambodia]]) are typically considered as violations of this criterion. The importance of this condition is key. Plainly, we cannot have a genuine process of judging a just war within a system that represses the process of genuine justice. A just war must be initiated by a political authority within a political system that allows distinctions of justice".<ref>{{cite web|url=http://oregonstate.edu/instruct/phl201/modules/just_war_theory/criteria_intro.html|title=Just War Theory|access-date=25 April 2015|archive-date=7 September 2013|archive-url=https://web.archive.org/web/20130907081045/http://oregonstate.edu/instruct/phl201/modules/just_war_theory/criteria_intro.html|url-status=dead}}</ref>
;Probability of success: According to this principle, there must be good grounds for concluding that aims of the just war are achievable.<ref name=Hubert&Weiss>Don Hubert and Thomas G. Weiss et al. "The Responsibility to Protect: Supplementary Volume to the Report of the International Commission on Intervention and State Sovereignty". (Canada: International Development Research Centre, 2001)</ref> This principle emphasizes that mass violence must not be undertaken if it is unlikely to secure the just cause.<ref name=SEP>{{Cite web
| title = War (Stanford Encyclopedia of Philosophy) | access-date = 2014-08-27| url = http://plato.stanford.edu/entries/war/#2.1 |website= plato.stanford.edu}}</ref> This criterion is to avoid invasion for invasion's sake and links to the proportionality criteria. One cannot invade if there is no chance of actually winning. However, wars are fought with imperfect knowledge, so one must simply be able to make a logical case that one can win; there is no way to know this in advance. These criteria move the conversation from moral and theoretical grounds to practical grounds.<ref>{{cite book|last=Seybolt|first=Taylor B.|title=Humanitarian Military Intervention: The Conditions for Success and Failure|date=January 2007|publisher=Oxford University Press|isbn=978-0-19-925243-5}}</ref> Essentially, this is meant to gather coalition building and win approval of other state actors.
;Last resort: The principle of last resort stipulates that all non-violent options must first be exhausted before the use of force can be justified. Diplomatic options, sanctions, and other non-military methods must be attempted or validly ruled out before the engagement of hostilities. Further, in regard to the amount of harm—proportionally—the principle of last resort would support using small intervention forces first and then escalating rather than starting a war with massive force such as [[carpet bombing]] or [[nuclear warfare]].<ref>{{cite web|title=Just War Theory and the Last of Last Resort - Ethics & International Affairs|url=https://www.ethicsandinternationalaffairs.org/2015/just-war-theory-last-last-resort/|website=Ethics & International Affairs|access-date=April 2, 2017|date=12 June 2015|archive-date=21 June 2015|archive-url=https://web.archive.org/web/20150621004346/https://www.ethicsandinternationalaffairs.org/2015/just-war-theory-last-last-resort/|url-status=dead}}</ref>
;Just cause: The reason for going to war needs to be just and cannot, therefore, be solely for recapturing things taken or punishing people who have done wrong; innocent life must be in imminent danger and intervention must be to protect life. A contemporary view of just cause was expressed in 1993 when the US Catholic Conference said: "Force may be used only to correct a grave, public evil, i.e., aggression or massive violation of the basic human rights of whole populations."

===''Jus in bello''===
Once war has begun, just war theory (''jus in bello'') also directs how [[combatant]]s are to act or should act:

;[[Distinction (law)|Distinction]]: Just war conduct is governed by the principle of distinction. The acts of war should be directed towards enemy combatants, and not towards [[non-combatant]]s caught in circumstances that they did not create. The prohibited acts include bombing civilian residential areas that include no [[legitimate military target]]s, committing acts of [[terrorism]] or [[reprisal]] against civilians or prisoners of war (POWs), and attacking [[Neutrality (international relations)|neutral]] targets. Moreover, combatants are not permitted to attack enemy combatants who have surrendered, or who have been captured, or who are injured and not presenting an immediate lethal threat, or who are [[attacks on parachutists|parachuting from disabled aircraft]] and are not [[airborne forces]], or who are [[shipwreck]]ed.
;[[Proportionality (law)#International law|Proportionality]]: Just war conduct is governed by the principle of proportionality. Combatants must make sure that the harm caused to civilians or civilian property is not excessive in relation to the concrete and direct military advantage anticipated by an attack on a [[legitimate military target|legitimate military objective]]. This principle is meant to discern the correct balance between the restriction imposed by a corrective measure and the severity of the nature of the prohibited act.
;[[Military necessity]]: Just war conduct is governed by the principle of military necessity. An attack or action must be intended to help in the defeat of the enemy; it must be an attack on a [[legitimate military target|legitimate military objective]], and the harm caused to civilians or civilian property must be proportional and not excessive in relation to the concrete and direct military advantage anticipated. Jus in bello allows for military necessity and does not favor a specific justification in allowing for counter-attack recourse.<ref>{{Cite journal |last=Mégret |first=Frédéric |date=2006 |title=Jus in Bello and Jus ad Bellum |url=http://www.jstor.org/stable/25660075 |journal=Proceedings of the Annual Meeting (American Society of International Law) |volume=100 |pages=121–123 |issn=0272-5037}}</ref> This principle is meant to limit excessive and unnecessary death and destruction.
;Fair treatment of [[prisoners of war]]: Enemy combatants who surrendered or who are captured no longer pose a threat. It is therefore wrong to torture them or otherwise mistreat them.
;No means [[malum in se]]: Combatants may not use weapons or other methods of warfare that are considered evil, such as [[mass rape]], forcing enemy combatants to fight against their own side or using weapons whose effects cannot be controlled (e.g., [[nuclear weapon|nuclear]]/[[biological weapons]]).

===Ending a war: ''Jus post bellum''===
In recent years, some theorists, such as Gary Bass, Louis Iasiello and Brian Orend, have proposed a third category within the just war theory. "[[Jus post bellum]] is described by some scholars as a new “discipline,” or as “a new category of international law currently under construction".<ref>{{Cite web |last=Brabandere |first=Eric De |date=February 2014 |title=7 The Concept of Jus Post Bellum in International Law: A Normative Critique |url=https://academic.oup.com/book/25936/chapter/193705796 |access-date=September 20, 2024 |website=Oxford Academic}}</ref> ''Jus post bellum''<ref>{{Cite web |last=Easterday |first=Jenifer |title=Exploring the Normative Foundations of Jus Post Bellum |url=https://academic.oup.com/book/25936/chapter/193694588 |url-status=live |access-date=October 27, 2024 |website=Oxford Academic |publisher=Oxford University Press}}</ref> concerns justice after a war, including peace treaties, reconstruction, environmental remediation, war crimes trials, and war reparations. ''Jus post bellum'' has been added to deal with the fact that some hostile actions may take place outside a traditional battlefield. ''Jus post bellum'' governs the justice of war termination and peace agreements, as well as the prosecution of war criminals, and publicly labelled terrorists. The idea has largely been added to help decide what to do if there are prisoners that have been taken during battle. It is, through government labelling and public opinion, that people use ''jus post bellum'' to justify the pursuit of labelled terrorist for the safety of the government's state in a modern context. The actual fault lies with the aggressor and so by being the aggressor, they forfeit their rights for honourable treatment by their actions. That theory is used to justify the actions taken by anyone fighting in a war to treat prisoners outside of war.<ref>{{cite book|title=Studies in Moral philosophy: Just War Theory|date=October 2012|publisher=Brill|isbn=978-9004228504 |page=187 | author1= Thom Brooks}}</ref><ref>{{cite book|title=Justice after War: Jus Post Bellum in the 21st Century|date=May 2023|publisher=Catholic University of American Press|isbn=978-0813236513 | author1= David Kwon}}</ref>

==Criticisms ==
Over the centuries, various philosophical arguments have emerged which question the moral validity of the principles underlying "Just War" theory in general. Included among them are the following objections:<ref>[https://www.google.com/search?tbm=bks&q=Just+War+Theory+criticism Just War Theory criticism on Google Books]</ref>

=== Pacifist objections ===
In the early years of the [[Christian]] religious tradition, it is apparent that [[Jesus]] himself rejected the glorification of martial values in general. While some might question whether he can be accurately described as a "philosophical [[pacifist]]" in the strictest sense, it is apparent that Jesus frowned upon the Roman Empire's depiction of heroic warriors as embodiments of mankind's noblest aspirations. In addition, he frequently preached against the use of violent retribution and insisted that his followers would benefit in an "after-life' by suffering for the sake of peace in their mortal existence by adopting a non-judgemental form of forgiveness .<ref>[https://www.google.com/books/edition/Just_War_Theory/uW8xEAAAQBAJ?hl=en&gbpv=1&dq=Just+War+Theory+criticism&printsec=frontcover ''Just War Theory: A Reappraisal'' Evans, Mark. Edinburgh university Press, 2005 p. 2 ISBN 0.7486-2074-5 Just War Criticism on Google Books]</ref><ref>[https://www.google.com/books/edition/Pacifism_and_English_Literature/bWCCDAAAQBAJ?hl=en&gbpv=1&dq=St+Francis+of+Assisi+pacifism&pg=PA36&printsec=frontcover ''Pacifism and English Literature: Minstrels of Peace.'' White, R. Palgrave McMillan UK, 2008 p. 34 ISBN 9780230583641 Just War Theory Criticism on Google Books]</ref>

This early Christian renunciation of war and violence in general emerged once again centuries later when [[Francis of Assisi]] admonished his fellow Christians against the acquisition of both material possessions as well as weapons of war during his renunciations of the church's participation in [[holy wars]] and the Fifth [[Crusade]] of 1219.<ref>Klaus Reblin: ''Franziskus von Assisi. Der rebellische Bruder.'' Vandenhoeck & Ruprecht, Göttingen 2006, [http://books.google.de/books?id=zxqBAu9_zEAC&pg=PA55 S. 55ff.](German)</ref><ref>[https://www.google.com/books/edition/The_Saint_and_the_Sultan/n0X2z0Z3DVcC?hl=en&gbpv=1&dq=St+Francis+of+Assisi+pacifism&printsec=frontcover ''The Saint and the Sultan: The Crusades, Islam, and Francis of Assisi's Mission of Peace.'' Moses, Paul. Doubleday, 2009 pp. 43-44 ISBN 978-0-385-52370-7 Just War Theory Criticism on Google Books]</ref> Despite the militaristic dictates of the church during this time, Francis remained fundamentally committed to a central redemptive mission in the actions of his own life by espousing a peaceful coexistence for humanity as a whole.<ref>[https://www.google.com/books/edition/Crusading_Peace/NcoqPrP7KqMC?hl=en&gbpv=1&dq=St+Francis+of+Assisi+pacifism&pg=PA184&printsec=frontcover ''Crusading Peace: Cristendom, the Muslim World and Western Political Order.'' Mastnak, Tomaz. University of California Press, 2002 pp. 186-188 ISBN 9780520925991 Just War Theory Criticism on Google Books]</ref><ref>[https://www.google.com/books/edition/Religion_Pacifism_and_Nonviolence/sexqDwAAQBAJ?hl=en&gbpv=1&dq=St+Francis+of+Assisi+pacifism&pg=PA18&printsec=frontcover ''Religion, Pacifism and Nonviolence''. Kellenberger, James. Springer International Publishing. 2018 p. 11 ebook ISBN 9783319950105 Just War Theory Criticism on Google Books]</ref>

Similarly, following the [[Reformation]], various [[Peace Churches]] adopted a pacifist objection to warfare in general. Included among them are the [[Mennonites]] and the [[Church of the Brethren]]. In additon, [[George Fox]] inspired his fellow [[Quakers]] toward a pacifist denunciation of Just War Theory.<ref>[https://www.google.com/books/edition/Pacifism_and_English_Literature/bWCCDAAAQBAJ?hl=en&gbpv=1&dq=St+Francis+of+Assisi+pacifism&pg=PA36&printsec=frontcover ''Pacifism and English Literature: Minstrels of Peace.'' White, R. Palgrave McMillan UK, 2008 pp. 34-36 ISBN 9780230583641 Just War Theory Criticism on Google Books]</ref>

In the 16th century, humanists such as the theologian [[Erasmus]] also called into question the ethics of attempting to limit warfare through rationality alone. In his ''The Complaint of Peace'' (1517) he adopted a political pacifist stance and affirmed that the only sufficient legitimate condition for waging war is whether it is first supported by a vote of all the people.<ref>Wolfgang F. Stammler, Hans-Joachim Pagel, Theo Stammen (Hrsg.): ''Über Krieg und Frieden. Die Friedensschriften des Erasmus von Rotterdam''. Franz Steiner Verlag, Stuttgart 2018, S. 397–398.</ref>. In addition, the German theologian [[Sebastian Franck]]
argued in his ''War Book of Peace'' (1539) that a "Just War" is as rare as "storkes in winter".<ref name="krieg-iv-43">Artikel ''Krieg IV'', in: Theologische Realenzyklopädie, 1990. S. 43. (German)</ref>

In modern times, philosophers have also argued that Just War Theory is essential not sufficiently robust to justify waging war against large numbers of innocent people in the age of nuclear weapons. Included among them is [[Robert L. Holmes]], who cites an objection against the doctrine of [[mutual assured destruction]] by pointing to its inherent irrationality. He notes that it is [[prima facia]] unethical since it relies upon the proliferation of new iterations of increasingly more lethal nuclear weapons as the foundation for a system of preventing wars which require the use of such weapons. In Holmes view, considerations of ''Jus ad Bellum'' and ''Jus in Bello'' fail to adequately account for the inherent [[normative]] objection against adopting an irrational justification for preparing for war in the nuclear age.<ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2216042.pdf |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref><ref name="Holmes">{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=yGx-2-maackC |title=The Ethics of Nonviolence: Essays by Robert L. Holmes |date=20 June 2013 |publisher=Bloomsbury |isbn=978-1-62356-962-4}}</ref>

=== Realpolitic objections===
In the realm of [[realpolitic]], the philosopher [[LeRoy Walters]] argued in 1975 against the theory of ''Just ad Bellum'' by analyzing case studies from wars waged during the 20th century. He observed that theorists on all sides of each conflict all relied upon the same categories cited in Just War theories to provide ethical justification for waging war against the opposing side.<ref>LeRoy Walters: ''Historical Applications of the Just-War Theory: Four Case Studies in Normative Ethics.'' In: ''Love and Society: Essays in the Ethics of Paul Ramsey.'' American Academy of Religion, Missoula, Montana 1974; zitiert nach Bernhard Häring: ''Umrüsten zum Frieden.'' 1983, S. 38.</ref>

==See also==
* [[Appeasement]]
* [[Christian pacifism]]
* [[Cost–benefit analysis]]
* [[Democratic peace theory]]
* [[Deterrence theory]]
* [[Peace and conflict studies]]
* [[Right of conquest]]
* [[Moral equality of combatants]]

==References==
{{Reflist}}

{{Further reading cleanup|date=April 2024}}
==Further reading==
* Benson, Richard. [https://web.archive.org/web/20070928075431/http://www.the-tidings.com/2006/0825/benson.htm "The Just War Theory: A Traditional Catholic Moral View"], ''[[The Tidings (newspaper)|The Tidings]]'' (2006). Showing the Catholic view in three points, including [[John Paul II]]'s position concerning war.
* Blattberg, Charles. ''[https://ssrn.com/abstract=1723423 Taking War Seriously]''. A critique of just war theory.
* Brough, Michael W., John W. Lango, Harry van der Linden, eds., ''Rethinking the Just War Tradition'' (Albany, NY: [[SUNY Press]], 2007). Discusses the contemporary relevance of just war theory. Offers an annotated bibliography of current writings on just war theory.
* Brunsletter, D., & D. O'Driscoll, ''Just war thinkers from Cicero to the 21st century'' (Routledge, 2017).
* {{Cite journal |volume=50 |journal=[[UCLA Law Review]] |page=721|date=2002–2003 |title=By Any Means Necessary: Using Violence and Subversion to Change Unjust Law |author=Butler, Paul |url=http://heinonlinebackup.com/hol-cgi-bin/get_pdf.cgi?handle=hein.journals/uclalr50&section=40 |url-access=subscription |author-link=Paul Butler (professor) |via=HeinOnline}}
* Churchman, David. ''Why we fight: the origins, nature, and management of human conflict'' (University Press of America, 2013) [https://books.google.com/books?id=6nmXtBQxfSwC&dq=Churchman,+D.+(2013).+Just+war+in+eight+cultures.+Why+we+fight:+Origins,+nature,+and+management+of+human+conflict.+Lanham:+University+Press+of+America.&pg=PR5 online].
* Crawford, Neta. "Just War Theory and the US Countertenor War", ''Perspectives on Politics'' 1(1), 2003. [https://msuweb.montclair.edu/~lebelp/CrawfordJustWarTheoryOnTerror.pdf online]
* Elshtain, Jean Bethke, ed. ''Just war theory'' (NYU Press, 1992) [https://books.google.com/books?id=ygMVCgAAQBAJ&dq=Elshtain,+J.+(1992).+Just+war+theory.+New+York:+NYU.&pg=PP9 online].
* Evans, Mark (editor) ''Just War Theory: A Reappraisal'' ([[Edinburgh University Press]], 2005)
* [[Nick Fotion|Fotion, Nicholas]]. ''War and Ethics'' (London, New York: [[Continuum International Publishing Group|Continuum]], 2007). {{ISBN|0-8264-9260-6}}. A defence of an updated form of just war theory.
* [[Max Heindel|Heindel, Max]]. ''The Rosicrucian Philosophy in Questions and Answers – Volume II'' ([http://www.rosicrucian.com/2qa/2qaeng09.htm#question163 The Philosophy of War], ''World War I reference'', ed. 1918), {{ISBN|0-911274-90-1}} (Describing a philosophy of war and just war concepts from the point of view of his [[Rosicrucian Fellowship]])
* Gutbrod, Hans. ''Russia's Recent Invasion of Ukraine and Just War Theory'' ([https://globalpolicyjournal.com/blog/21/03/2022/russias-recent-invasion-ukraine-just-war-perspective "Global Policy Journal"], March 2022); applies the concept to Russia's February 2022 invasion of Ukraine.
* [[Robert L. Holmes|Holmes, Robert L.]] ''On War and Morality'' (Princeton University Press, 1989.<ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=TBoABAAAQBAJ&q=Robert+L.+Holms |title=On War and Morality |date=14 July 2014 |publisher=Princeton University Press |isbn=978-1-4008-6014-2}}</ref>
* Khawaja, Irfan. Review of Larry May, ''War Crimes and Just War'', in ''[[Democratiya]]'' 10, ([https://web.archive.org/web/20071214041110/http://www.democratiya.com/review.asp?reviews_id=124]), an extended critique of just war theory.
* Kwon, David. ''Justice after War: Jus Post Bellum in the 21st Century'' (Washington, D.C., Catholic University of America Press, 2023). {{ISBN|978-0-813236-51-3}}
* MacDonald, David Roberts. ''Padre E. C. Crosse and 'the Devonshire Epitaph': The Astonishing Story of One Man at the Battle of the Somme (with Antecedents to Today's 'Just War' Dialogue)'', 2007 [[Cloverdale Books]], South Bend. {{ISBN|978-1-929569-45-8}}
* McMahan, Jeff. "Just Cause for War," ''Ethics and International Affairs'', 2005.
* Nájera, Luna. "Myth and Prophecy in Juan Ginés de Sepúlveda's Crusading "Exhortación" {{Webarchive|url=https://web.archive.org/web/20110311124110/http://digitalcommons.asphs.net/bsphs/vol35/iss1/4/ |date=11 March 2011 }}, in ''Bulletin for Spanish and Portuguese Historical Studies'', 35:1 (2011). Discusses [[Juan Ginés de Sepúlveda|Sepúlveda]]'s theories of war in relation to the war against the Ottoman Turks.
* Nardin, Terry, ed. ''The ethics of war and peace: Religious and secular perspectives'' (Princeton University Press, 1998) [https://books.google.com/books?id=Gin-DwAAQBAJ&dq=Nardin,+T.+(Ed.).+(1996).+The+ethics+of+war+and+peace.+Princeton:+Princeton.&pg=PP7 online]
* [[Oliver O'Donovan|O'Donovan, Oliver]]. ''The Just War Revisited'' (Cambridge: Cambridge University Press, 2003).
* Steinhoff, Uwe. ''On the Ethics of War and Terrorism'' (Oxford, Oxford University Press, 2007). Covers the basics and some of the most controversial current debates.
* [[Michael Walzer|Walzer, Michael]]. ''Arguing about War'', (Yale University Press, 2004). {{ISBN|978-0-300-10978-8}}

==External links==
* {{cite IEP |url-id=justwar |title=Just war theory}}
* [http://catholicism.org/catholic-teaching-just-war.html Catholic Teaching Concerning Just War] at Catholicism.org
* [http://www.bbc.co.uk/programmes/p00545jx "Just War"] ''In Our Time'', BBC Radio 4 discussion with John Keane and Niall Ferguson (3 June 1999)

{{Ethics}}
{{anti-war}}

{{Authority control}}

[[Category:Military ethics]]
[[Category:Catholic social teaching]]
[[Category:Catholic theology and doctrine]]
[[Category:Just war theory| ]]
[[Category:Thomas Aquinas]]
[[Category:Christianity and violence]]

John Serry Sr.

2024-10-22T21:40:18Z

160.72.80.178: /* Discography */ ''Included additional External Media link'' & relocated External Media Box to prevent crowding of text''~~~~NHPL

{{short description|American concert accordionist, arranger, and composer}}
{{About|the classical music accordionist and organist|the jazz pianist and composer|John Serry Jr.|the American electronic music composer|Jonn Serrie}}


{{Infobox person
| name = John Serry
| image = John-Serry-Sr.gif
| image_size =
| caption = John Serry in 1967
| birth_date = {{birth date|1915|01|29}}
| birth_place = [[Brooklyn]], United States
| death_date = {{death date and age|2003|09|14|1915|01|29}}
| death_place = [[Long Island]], United States
| restingplace =
| othername =
| occupation = Accordionist, Organist, Educator, Composer
| yearsactive = 1930-2002
| spouse =
| children =
}}

'''John Serry Sr.''' (born '''John Serrapica'''; January 29, 1915 – September 14, 2003) was an American concert accordionist, arranger, composer, organist, and educator. He performed on the [[CBS]] Radio and Television networks and contributed to [[Voice of America]]'s [[cultural diplomacy]] initiatives during the [[Golden Age of Radio]]. He also concertized on the accordion as a member of several orchestras and jazz ensembles for nearly forty years between the 1930s and 1960s.<ref>''Allegro'', American Federation of Musicians, New York, January 2004, Vol CIV, Obituary and the date of death for John Serry listed as Sept. 14, 2003 as posted by his son John Serry Jr. [http://www.local802afm.org/publication_entry.cfm?XEntry=23736371 No. 1.] {{webarchive|url=https://web.archive.org/web/20060528201555/http://www.local802afm.org/publication_entry.cfm?xEntry=23736371 |date=2006-05-28 }}</ref><ref name="auto6">{{cite web|url=https://www.archives.com/1940-census/john-serrapica-ny-65186289?FirstName=John&LastName=Serrapica&Location=NY&folderImageSeq=724|title=John Serrapica from Assembly District 16 Brooklyn in 1940 Census District 24-1722|website=Archives.com}}</ref>
{{external media|width=285px|audio1=You may hear John Serry Sr. with [[Nestor Mesta Chayres]] and the Alfredo Antonini Orchestra playing the bolero "La Morena de mi Copla" in 1946 [https://adp.library.ucsb.edu/index.php/matrix/detail/2000301762/73545-La_morena_de_mi_copla '''Here on DAHR''']}}

==Biography==
Serry's career spanned over seven decades. As a proponent of Latin American music and the [[free-bass system|free-bass accordion]], he performed as the [[piano accordion]]ist on the radio music program ''[[Viva América]]'', which was broadcast live to South America under the United States Department of State's [[Office of the Coordinator of Inter-American Affairs]]' [[cultural diplomacy]] initiative for [[Voice of America]] during [[World War II]].<ref>{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (See photograph showing Serry seated as the accordionist in the orchestra above the caption "The Latin-American artist Juan Arvizu with the CBS Pan American Orchestra conducted by Alfredo Antonini"</ref><ref>''The New York Times'', January 8, 1941, p. 18</ref><ref>''The New York Times'', January 1, 1942, p. 27</ref><ref>''The New York Times'', May 10, 1942, p. SM10</ref><ref>''The New York Times'', February 28, 1943, p. X9</ref><ref>''Time'', June 1, 1942.</ref> Broadcasts of this show have been cited as helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States in the 1940s.<ref name="auto9">Media Sound & Culture in Latin America & The Caribbean. Editors: Bronfman, Alejandra & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, 2012, p. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 Alfredo Antonini's CBS Pan American Orchestra, "Viva America" and Latin American music in the United States on Books.Google.Cmm See p. 49]</ref><ref name="auto8">{{Cite book|url=https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166|title=Dissonant Divas in Chicana Music: The Limits of la Onda|first=Deborah R.|last=Vargas|date=August 29, 2012|pages=153–157|publisher=U of Minnesota Press|via=Google Books|isbn=9780816673162}}</ref>

Serry performed with big bands, symphony orchestras, radio and television orchestras, and Broadway orchestras at the [[Radio City Music Hall]],<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry...appearing as a soloist at the Radio City Music Hall" – on archive.org]</ref>
the [[Rainbow Room]] at Rockefeller Center (1935);<ref name="article9" /> the Starlight Roof at the [[Waldorf Astoria Hotel]] (1936–1937);<ref>''Accordion News'', November, 1937.</ref><ref>''Accordion World'', March, 1946, Vol. 11 #11</ref> the [[Palmer House Hilton|Palmer House]] in Chicago (1938);<ref name="article8">''The Los Angeles Examiner'', October 9, 1938, p. 1</ref> the [[Stevens Hotel]] in Chicago (1938);<ref>[https://www.google.com/search?q=John+Serry+AFM&rlz=1C1CHBF_enUS984US989&ei=aTndY8OuEpCj5NoP7qOp4Ao&ved=0ahUKEwiDh5zq5fn8AhWQEVkFHe5RCqwQ4dUDCBA&oq=John+Serry+AFM&gs_lcp=Cgxnd3Mtd2l6LXNlcnAQDDIFCCEQoAEyBQghEKABMgUIIRCgAToICAAQogQQsAM6BQghEKsCSgUIPBIBMUoECEEYAUoECEYYAFDpCFiKDmDuHWgBcAB4AIABY4gBjQKSAQEzmAEAoAEByAEEwAEB&sclient=gws-wiz-serp#ip=1 ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry in concert at the Stevens Hotel. See the link on this page to "EmPO – World Radio History" at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref> the Biltmore Hotel in Los Angeles (1938);<ref name="article8" /> [[Carnegie Hall]] with [[Alfredo Antonini]] conducting (1946);<ref name="article5">''The New York Times'', May 12, 1946, p. 42</ref> the [[Plaza Hotel]] (1940s); [[The Town Hall (New York City)|The Town Hall]] (1941–1942);<ref name="The Nation 1942">''The Nation'', March 7, 1942, Vol. 154, #10</ref><ref name="article2">[https://query.nytimes.com/gst/abstract.html?res=9C0CE2D7113BE33BBC4953DFB5668389659EDE&legacy=true "Diseuse in Debut Here"]. ''[[The New York Times]]'', March 1, 1942, p. 36</ref><ref name="article3">''The New York Times'', May 28, 1941, p. 32</ref> the Waldorf Astoria Hotel's Wedgewood Room (1948),<ref name="google.com">[https://www.google.com/search?q=Mischa+Borr+John+Serry&sca_esv=577452161&tbm=bks&ei=eR49ZfOGKdPx0PEP-eG_yA0&ved=0ahUKEwizp5DS_ZiCAxXTODQIHfnwD9kQ4dUDCAk&uact=5&oq=Mischa+Borr+John+Serry&gs_lp=Eg1nd3Mtd2l6LWJvb2tzIhZNaXNjaGEgQm9yciBKb2huIFNlcnJ5SLYgUJYIWOYccAB4AJABAJgBhgGgAbUKqgEEMC4xMrgBA8gBAPgBAcICBRAhGKsCiAYB&sclient=gws-wiz-books "Accordion World" Gerstner Publications, 1948 Vo. 14 p. 6 John Serry accordioinst with the Mischa Borr Orcehstra at the Waldorf Astoria Hotel on Google Books]</ref> The [[Rajah Theatre]] (1953),<ref name="ArAAAAIBAJ p. 38">[https://books.google.com/books?id=ihArAAAAIBAJ&dq=%22John+Serry&pg=PA38&article_id=3456,1341936 "Current Attratcions: Theatre Timetable: Rajah Accordion Concert: featuring John Serry"] Reading Eagle, May 3, 1953 p. 38 on Books Google</ref> the [[Ed Sullivan Theater]] (1959) for CBS television; the [[Empire Theatre (41st Street)|Empire Theater (New York)]] (1953);<ref name="article12">''New York Journal-American'' (see the photograph of Serry's signature inscribed with signatures of other members of the cast on the stage door of the Empire Theatre at the closing of the play ''[[The Time of the Cuckoo]]''), May 25, 1953, p. 15</ref> and such New York [[cafe society]] nightspots as: [[El Morocco]], El Chico and The Riviera in the 1930s. During the course of these performances he appeared under the musical direction of several noted conductors including: [[Alfredo Antonini]], Mischa Borr, [[Percy Faith]], [[Shep Fields]], [[Mitch Miller]]<ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See the album cover's credits for performers including John Serry "who has worked under such eminent conductors as Alfredo Antonini, Mitch Miller and Shep Fields". Phonograph album photographed on Discogs.com]</ref> and [[Andre Kostelanetz]].<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry toured the United States with Shep Fields' Orchestra..and appeared under the direction of Andre Kostelanetz, Percy Faith and Alfredo Antonini and others" on archive.org]</ref><ref>[https://www.google.com/search?q=Mischa+Borr+John+Serry&sca_esv=577452161&tbm=bks&ei=eR49ZfOGKdPx0PEP-eG_yA0&ved=0ahUKEwizp5DS_ZiCAxXTODQIHfnwD9kQ4dUDCAk&uact=5&oq=Mischa+Borr+John+Serry&gs_lp=Eg1nd3Mtd2l6LWJvb2tzIhZNaXNjaGEgQm9yciBKb2huIFNlcnJ5SLYgUJYIWOYccAB4AJABAJgBhgGgAbUKqgEEMC4xMrgBA8gBAPgBAcICBRAhGKsCiAYB&sclient=gws-wiz-books "Accordion World" Gerstner Publications 1948 Vo. 14 p. 6 John Serry accordioinst with the Mischa Borr Orcehstra at the Waldorf Astoria Hotel on Google Books]</ref><ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See album cover for the performers' credits including: "John Serry who has worked under such eminent conductors as Alfredo Antonini, Mitch Miller and Shep Fields". Phonograph of album cover as photographed on Discogs.com]</ref>

[[File:Carnegie-hall-isaac-stern.jpg|thumb|upright=.70|left|[[Carnegie Hall]]]]
Serry was born John Serrapica in [[Brooklyn]], New York to Pasquale Serrapica and Anna Balestrieri,<ref name="auto6"/> the fourth-born of thirteen siblings.<ref>[https://www.archives.com/1940-census/john-serrapica-ny-65186289?FirstName=John&LastName=Serrapica&Location=NY&folderImageSeq=724 John Serrapica (son of Pasquale & Anna Serrapica) and his siblings: Louis, Carmela, Silvie, Ida, Nancy, Romeo, Julio, Rose, in the US Census of 1940, Kings County, NY on archives.com]</ref><ref>[https://www.archives.com/1940-census/benito-serrapica-ny-65186297?FirstName=Ben&LastName=Serrapica&Location=NY&folderImageSeq=724 Benito Serrapica (son of Pasquale & Anna Serrapica) and his siblings: Louis, John, Carmela, Silvie, Ida, Nancy, Romeo, Julio in the US Census of 1940 Kings County, NY on archives.com]</ref><ref>[https://www.archives.com/1940-census/madeline-serrapica-ny-65186298 Madeline Serrapic (daughter of Pasquale & Anna Serrapica) and her siblings: Louis, John, Carmela, Silvie, Ida, Nancy, Romeo, Julio in the US Census of 1940 Kings County, NY on archives.com]</ref><ref>[https://dp.la/item/28119e73c177c00a88569c6859f9d61e?q=Serrapica%2C+Pasquale Enrollment of Pasquale and Anna Serrapicia and their children: Vincent, Louis, Adolf, John, Carmela, Sylvia, Ida listed on lines #33-41 in the Records of the Bureau of the Census – 1920 Population – Kings County, New York, National Archives No. 91851107 in the National Archives Catalog at https://catalog.archives.gov/id/91851107]</ref> His Italian father immigrated to America from [[Gragnano]], Italy after passing through Ellis Island in 1904 and 1914.<ref>[https://heritage.statueofliberty.org/passenger-result The Statue of Liberty – Ellis Island Foundation – Passenger Search – Pasquale Serrapica on heritage.statueofliberty.org]</ref><ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. the original family name Serrapica is from Gragnano, Italy on jazz.com]</ref> The family owned a grocery store after initially moving to Navy Street in 1905,<ref>[https://books.google.com/books?id=_fGBsabZJoYC&dq=Serrapica+Grocery+Brooklyn%2C+NY&pg=PA2518 "New York Court of Appeals, Records and Briefs 1919 City of New York p. 840, Entry # 2519 – Sworn testimony under oath in 1919 by Pasquale Serrapica that he is an Italian owner of a grocery store on Navy Street in Brooklyn, NY where he has lived for fourteen years- on Books Google.com]</ref> and subsequently taking up residence on 18th Avenue in the [[Bensonhurst]] section.<ref>[https://www.archives.com/1940-census/record?UniqueId=12888151:2442:892 United States Census 1940: John Serrapica & family members residing on 18th Avenue, Brooklyn, NY on archives.com]</ref> His formal musical education included studies with the accordionist Joseph Rossi from 1926 to 1929 at the [[Pietro Deiro]] School in New York. At the age of fifeteen he performed live on the Italian radio station WCDA.<ref>{{cite news |id={{ProQuest|98745168}} |title=Today on the Radio |url=https://www.nytimes.com/1930/12/02/archives/today-on-the-radio.html |work=The New York Times |date=2 December 1930 }}</ref> By the age of nineteen, Serrapica was already enrolled as a member of the [[American Federation of Musicians]] in 1934.<ref name="Serrapica p. 398">[https://books.google.com/books?id=zvO4JsTZB8oC&q=John+Serrapica Directory and Instrumentation: Local #802 American federation of Musicians, Associated Musicians of Greater New York. Publisher: American Federation of Musicians- Local 802, New York 1934 p. 398 John Serrapica on Google.com/books]</ref> In addition, he undertook studies in piano and harmony with Albert Rizzi from 1929 to 1932 and in harmony and counterpoint with Gene Von Hallberg for two years.<ref name="article10">"Biography", ''Accordion World'', March 1946, Vol. 11, #11, p. 3</ref> Von Hallberg served as a cofounder of the [[American Accordionists Association]] in 1938.<ref>[http://www.ameraccord.com/2018graphics/AAA-Formation.htm "American Accordionists' Association" Photograph of founding members includes Gene Von Hallburg and Joe Biviano March 9, 1938 on ameraccord.com]</ref> Hallberg later appeared in the Magnante Quartet before an audience of three thousand concertgoers at Carnegie Hall in 1939 <ref>[https://www.ksanti.net/free-reed/essays/cheered.html ''The Free Reed journal'' – "1939 Magnante Concert at Carnegie Hall Part 3 -As Thousands Cherred" reprinted from ''Accordionin World'', New York, NY, May 1939. Gene Von Hallberg & the Charles Magnante Quartet: Abe Goldman &Joe Biviano at Carnegie Hall, 1939 on www.ksanti.net]</ref><ref>[https://books.google.com/books?id=eTJEAQAAIAAJ&dq=Charles+Magnante+Carnegie+Hall+1939&pg=PA84 ''The Musician'' – "Thumbnail Reviews – New York Recitals in Retrospect--Carnegie Hall -review of the Charles Magnanate Quartet with Gene Von Hallberg at Carnegie Hall, May 1939 p. 84 on Google Books]</ref> A lifelong friendship with the accordionist Louis Del Monte was established as a result of these studies. Del Monte awakened Serry's interest in Latin American music.<ref name="article10"/> Advanced studies in harmony and orchestration were completed under the instruction of the composer [[Robert Strassburg]] in the 1940s.

==Career==
=== The 1930s: The big band era ===
[[File:Rainbow room.jpg|thumb|upright=.90|right|[[Rainbow Room]] in Rockefeller Center, New York City]]
The period from 1938 to 1960 has been described as a unique period of prestige for the accordion in the United States when it attained more widespread acceptance by the public as a "serious instrument" on the concert hall stage.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Magnante+Accordion+Quartet&pg=PA50 "Squeeze This: A Cultural History of the Accordion in America". Jacobson, Marion. University of Illinois Press, 2012, p. 50-51 (Chapter Two: ''SqueezeBox Bach: The Classical Accordion'') on google.com/books]</ref><ref name=Jacobson2007>{{cite journal |last1=Jacobson |first1=Marion S. |title=Searching for Rockordion: The Changing Image of the Accordion in America |journal=American Music |date=2007 |volume=25 |issue=2 |pages=216–247 |doi=10.2307/40071656 |jstor=40071656 }}</ref> At the age of sixteen, Serrapica had already performed as a soloist on the AM radio station [[WADO|WOV]] in New York City during several live broadcasts in 1931.<ref>{{cite news |id={{ProQuest|99529553}} |title=Today on the Radio |url=https://www.nytimes.com/1931/01/06/archives/today-on-the-radio.html |work=The New York Times |date=6 January 1931 }}</ref><ref>{{cite news |id={{ProQuest|99511360}} |title=Today on the Radio |url=https://www.nytimes.com/1931/01/15/archives/today-on-the-radio.html |work=The New York Times |date=15 January 1931 }}</ref><ref>{{cite news |id={{ProQuest|99509304}} |title=Today on the Radio; OUTSTANDING EVENTS ON THE AIR TODAY |url=https://www.nytimes.com/1931/01/22/archives/today-on-the-radio-outstanding-events-on-the-air-today.html |work=The New York Times |date=22 January 1931 }}</ref> With the help of Del Monte, in the 1930s Serry continued his professional career by making appearances with the Ralph Gomez Tango Orchestra at [[The Rainbow Room]] at the RCA Building in Rockefeller Center,<ref name="article9">''Accordion News'', March, 1935</ref> leading to an extended engagement there in 1935.<ref name="article9" /> He also played with the Hugo Mariani Tango Orchestra at the Waldorf Astoria Hotel in New York <ref name="article10"/> and once again in Chicago with Frank Pruslin and Syd Fox (1936)<ref>[https://books.google.com/books?id=LJ5peQ2vYrgC&q=John+Serry+Copyright Accordion News Vols. 5-6 Louis Siquier. 1936 p. 4 "John Serry Frank Pruslin and Sy Fox with...Hugo mariani Orchestra ...at Chicago". John Serry Copyright on Google Books]</ref> and with Alfred Brito, a Cuban orchestra leader in New York (1936), and Misha Borr, conductor of the [[Waldorf-Astoria Orchestra]].<ref name="article10" /> He appeared as a soloist for society functions at the Waldorf Astoria Hotel's Waldorf Towers and at its Starlight Roof with the Lester Lanin Orchestra. In addition, he performed regularly at clubs such as [[El Morocco]], the Rainbow Room, El Chico, and the Riviera in New York City.<ref name="article9"/>

The "golden age of the accordion" continued to evolve in America from 1910 to 1960 and some piano accordionists suddenly enjoyed acceptance as performers within the best known dance bands, jazz ensembles and big band ensembles such as the [[Paul Whiteman]] orchestra.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=Paul%20Whiteman ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 p. 124 Paul Whiteman featured the accordion on Google Books.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – accordionists gain acceptance in dance bands, jazz ensembles and big bands on GoogleBooks.com]</ref> As the decade came to a close, Serry acquired a position with the jazz ensemble [[Shep Fields and His Rippling Rhythm]] during a nationwide tour which included live radio broadcasts from the Palmer House Hotel in Chicago, Illinois, and the Millennium Biltmore Hotel in Los Angeles, California, over the NBC network (1937–1938).<ref name="article8" /><ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' by John Serry: "John Serry...toured the United States with Shep Fields' Orchestra" – See the album on archive.org]</ref> These [[big band remote]] broadcasts used Zenith's Radiogran technology. In 1937, he also recorded the distinctive Shep Fields' theme song with the Shep Fields Rippling Rhythm Orchestra for [[Eli Oberstein]] on RCA Victor's Bluebird label (Victor, BS-017494, 1937).<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200030373/BS-017494-Shep_Fields_theme_song_recorded_for_Mr.Oberstein "Shep Fields Theme Song recorded for Mr. Oberstein / Shep Fields Rippling Rhythm Orchestra" – John Serry (instrumentalist accordion) on the Discography of American Historical Recordings]</ref> His performances as a member of the orchestra are also documented in the film ''[[The Big Broadcast of 1938]]'' ("This Little Ripple Had Rhythm" and "[[Thanks for the Memory]]"), which won the Academy Award for Best Original Song in 1939. While touring with Shep Fields, he also recorded several popular songs of the time for Bluebird Records, including "[[With a Smile and a Song (song)|With a Smile and a Song]]", "[[Whistle While You Work]]", and "[[Now It Can Be Told]]".<ref name="Rust1975">{{cite book |last1=Rust |first1=Brian |title=The American Dance Band Discography 1917-1942: Irving Aaronson to Arthur Lange |date=1975 |publisher=Arlington House |isbn=978-0-87000-248-9 |pages=516–517 }}</ref><ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=100000 "Discography of American Historical Recordings" – John Serry on adp.library.ucsb.edu]</ref>

At the young age of only 23 in 1938, Serry was already collaborating on stage with several noted accordionists of the early 20th century including: Andy Arcari, Anthony Mecca, Domenic Mecca, [[Pietro Deiro]] and Joe Biviano.<ref>[https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry, Andy Arcari, Anthony Mecca, Domenic Mecca, Pietro Deiro and Joe Biviano in concert at the Stevens Hotel. Google search for "John Serry AFM" and click on "EmPo- World Radio History" or See the link on this page at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref><ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=Joe%20biviano ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 p. 124 Pietro Deiro & Joe Biviano: virtuoso accordionists of the decade following the mid 1920s on Google Books.com]</ref> The six accordionists joined forces at the north ballroom of the legendary [[Stevens Hotel]] in Chicago for an "Accordion Jamfest" before an audience of over 1000 concertgoers in September 1938.<ref>[https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry, Andy Arcari, Anthony Mecca, Domenic Mecca, Pietro Deiro and Joe Biviano in concert at the Stevens Hotel. Google search for "John Serry AFM" and click on "EmPo- World Radio History" or See the link on this page to at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref> The concert occurred soon after Andy Arcari's noted accordion recital at Philadelphia's Academy of Music in May 1938, where critics praise him for his brilliance.<ref>[https://content.time.com/time/subscriber/article/0,33009,882997,00.html ''Time'' – "Music: Accordionist" Andy Arcari in recital at the Philadelphia Academy of Music in May 1938 on content.time.com]</ref> In a few short months both Biviano and the Mecca brothers would appear with Charles Magnante, Gene Von Hallberg and Abe Goldman to introduce the accordion in recital for the first time to an audience of classical music concertgoers in Carnegie Hall (April, 1939).<ref>[https://books.google.com/books?id=eTJEAQAAIAAJ&dq=Charles+Magnante+Carnegie+Hall+1939&pg=PA84 ''The Musician'' – "Thumbnail Reviews – New York Recitals in Retrospect--Carnegie Hall -review of the Charles Magnanate Quartet with Gene Von Hallberg, Abe Goldman, Anthony Mecca, Domenic Mecca, Joe Biviano at Carnegie Hall, May 1939 p. 84 on Google Books]</ref><ref>[https://www.ksanti.net/free-reed/essays/cheered.html ''The Free-Reed Journal'' – "1939 Magnante Concert at Carnegie Hall: Part 3 As thousands Cheered" -Mganante, Biviano, Anthony Mecca, Domenic Mecca, Gene Von Hallberg, Abe Goldman in the first accordion recital held at Carnegie Hall on 4/18/1939 on ksanti.net/free-reed/essays/cheered.html]</ref><ref>{{cite book | last=Jacobson | first=Marion S. | title=Squeeze this! : a cultural history of the accordion in America | publisher=University of Illinois Press | publication-place=Urbana | date=2012 | isbn=978-0-252-03675-0 | oclc=826684860 | chapter = Squeezebox Bach-The Classical Accordion}}</ref>

=== The 1940s: The golden age of radio ===
Serry married Julia Trafficante in the 1940s and moved to [[Nassau County, New York]] on Long Island to raise a family of four children which included [[John Serry Jr.]]<ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. one of four children raised by John and Julia Serry on jazz.com]</ref> The original family name of Serrapica was anglicized by John to Serry.<ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. – the family name of Serrapica was shortened by John Serry Sr to Serry on jazz.com]</ref> He simultaneously undertook private studies with: Joscha Zade in piano (1945–1946); Arthur Guttow, an organist at the [[Radio City Music Hall]] (1946);<ref>''The New York Times'', November 18, 1945, p. 50</ref> and [[Robert Strassburg]] in Orchestration and Advanced Harmony (1948–1950). He specialized in the works of [[Gershwin]], [[Debussy]], and [[Ravel]].<ref name="article11">"Who Is Who In Music International 1958", ''Who Is Who In Music International'', Chicago, IL. Biographical File # B11719. See [[International Biographical Center]], Cambridge, England as current publisher.</ref>
[[File:Ny-town-hall.jpg|thumb|upright=.85|left|[[The Town Hall (New York City)|Town Hall]] in New York City]]
During the 1930s and 1940s many accordionists emerged as performers on American radio, the new mass entertainment medium of the time.<ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 3 Accordion performers on the radio: Charles Magnante on Google Books]</ref> Building upon his concert experiences of the 1930s, Serry entered the golden age of radio performing on the CBS radio network and assisted several concert artists in New York City including the French diseuse [[Marianne Oswald]] (aka Marianne Lorraine) in her English speaking debut of "One Woman Theatre" performing the poem ''Mr. Lincoln and His Gloves'' (by [[Carl Sandburg]]), ''Never Before'' (by [[Archibald MacLeish]]) and poems by [[Jean Cocteau]] and [[Jacques Prevert]] at Town Hall (1942).<ref>[https://archive.today/20070814110438/http://www.thenation.com/archive/detail/13485324 "Marianne Lorraine" performs at Town Hall", ''The Nation'', March 7, 1942, p. 10 on archive.ph]</ref><ref name="article2" /><ref name="DISEUSE IN DEBUT HERE">{{cite news |id={{ProQuest|106170249}} |title=DISEUSE IN DEBUT HERE; Marianne Lorraine Presents 'One Woman Theatre' at Town Hall |url=https://www.nytimes.com/1942/03/01/archives/diseuse-in-debut-here-marianne-lorraine-presents-one-woman-theatre.html |work=The New York Times |date=1 March 1942 }}</ref> The concert was hosted by the Free World Association and presented with the patronage of [[Eleanor Roosevelt]] .<ref>[https://www.google.com/search?q=Free+World+Association+Eleanor+Roosevelt+Feb.+1942&tbm=bks&ei=OwC3Y7bnGrfKytMP5fypyA8&start=10&sa=N&ved=2ahUKEwj28Kv68bD8AhU3pXIEHWV-CvkQ8NMDegQIDxAW&biw=1920&bih=937&dpr=1 ''Free World'' Vol. 2 p. 94 "The Free world Association presents Marianne Oswald...John Serry accordionist...Patroness Mrs. Franklin D. Roosevelt" – Free World Association Eleanor Roosevelt Feb. 1942 on Google Books]</ref><ref>[https://www.google.com/search?q=Free+World+Association+Marianne+Oswald+1942&biw=1034&bih=844&tbm=bks&ei=zAS3Y6_IOviEytMPod2o8A4&ved=0ahUKEwiv3oGo9rD8AhV4gnIEHaEuCu44FBDh1QMICQ&uact=5&oq=Free+World+Association+Marianne+Oswald+1942&gs_lcp=Cg1nd3Mtd2l6LWJvb2tzEANQmgdYqDpg-EJoBnAAeACAAc8DiAGTC5IBBjIxLjQtMZgBAKABAcABAQ&sclient=gws-wiz-books ''Free World'' – A Monthly Magazine devoted to Democracy, p. 94 "The Free World Association presents...Marianne Oswald...John Serry accordionist...Town Hall, February28, 1942" Free World Association Marianne Oswald 1942 on Google Books]</ref> This performance was praised in ''The Players Magazine – National Journal of Educational Dramatics'' as a "fresh experience and intriguing in its uniqueness."<ref name="ReferenceD">[https://books.google.com/books?id=3WBCAQAAIAAJ&q=John+Serry "Players Magazine: The National Journal of Educational Dramatics...Vols 18-21" --Review of "Miss Lorraine's rendition of poems...against a background of music by distinguished contemporary musicians...John Serry on the accordion" on Books Google]</ref> ''The New York Times'' described it as being skillfully presented.<ref name="Players">{{cite book|title=The Players Magazine – National Journal of Educational Dramatics |url=https://books.google.com/books?id=vsJYAAAAMAAJ |access-date=25 July 2018 |volume=18–19 |year=1941|publisher=National Collegiate Players|page=25}}</ref><ref name="DISEUSE IN DEBUT HERE"/> For ten years Serry performed as an original member of [[Alfredo Antonini]]'s CBS Pan American Orchestra (1940–1949)<ref>{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (See the photograph showing Serry seated as the accordionist in the orchestra above the caption "The Latin-American artist Juan Arvizu with the CBS Pan American Orchestra conducted by Alfredo Antonini")</ref><ref>[https://www.google.com/search?q=CBS+Pan+American+Orchestra++A+Pictorial+History+of+Radio&biw=1600&bih=789&tbm=bks&ei=2YSjY_TjJPP-9AOtlrHQBA&ved=0ahUKEwi0tIXP3Yv8AhVzP30KHS1LDEoQ4dUDCAk&uact=5&oq=CBS+Pan+American+Orchestra++A+Pictorial+History+of+Radio&gs_lcp=Cg1nd3Mtd2l6LWJvb2tzEAM6BAghEApQAFjqSWDYTGgBcAB4AIABkQGIAawakgEENi4yNJgBAKABAcABAQ&sclient=gws-wiz-books "A Pictorial History of Radio" by Irving Settel Caption for the photograph of the CBS Pan American Orchestra with Juan Arvizu conducted by Alfredo Antonini on Page 146 on Books.Google]. Accessed December 29, 2022.</ref><ref name="article4">''The New York Times'', November 5, 1983, p. 34</ref><ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' by John Serry: "John Serry...appeared under the direction of Alfredo Antonini" – See the album on archive.org]</ref> on the ''[[Viva América]]'' program for the Department of State's [[Office of Inter-American Affairs]] (OCIAA) in support of its [[cultural diplomacy]] initiatives.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Photograph of John Serry accordionist on CBS' C de Las A program circa 1940s p. 3, Series 3, Collection Box 3, Item 1: The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref>
<ref name="Viva">{{cite web |last1=Goldin |first1=J. David |title=Copyright 2018, J. David Goldin |url=http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America |website=Radiogoldindex.com |access-date=July 25, 2018 |archive-date=February 6, 2012 |archive-url=https://web.archive.org/web/20120206070142/http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America |url-status=dead }}</ref><ref name="article10" /><ref name="article4" /><ref>''The New York Times'', June 9, 1946, p. 49</ref><ref name="auto10">{{cite book|url=https://books.google.com/books?id=Qx00pQIkclMC&pg=PA166 |title=Dissonant Divas in Chicana Music: The Limits of la Onda|first=Deborah R.|last=Vargas|date=November 26, 2018|publisher=University of Minnesota Press|page=166 |access-date=November 26, 2018 |via=Google Books|isbn=9780816673162}}</ref><ref name="books.google.com">Media Sound & Culture in Latin America & The Caribbean. Editors: Bronfman, Alejandra & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, 2012, p. 49; {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 Pan-Americanism & CBS & "Viva America" on Books.Google.com See pp. 48-49]</ref> He also worked with Antonini, Nestor Mesta Chayres and members of the [[New York Philharmonic]] in the ''Night of the Americas Concert'' gala at Carnegie Hall in 1946.<ref name="article5" /><ref>{{cite web|url=https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to=|title=New York Philharmonic|access-date=December 29, 2022|website=archives.nyphil.org}}</ref>

During this period, several international concert musicians also appeared on ''Viva America'' or recorded music with Antonini's Viva America Orchestra including:<ref>[https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 CBS Pan American Orchestra, Alfredo Antonini, Terig Tucci, Juan Arvizu, Nestor Chayres, Elsa Miranda, "Viva America" on Books.Google.com See p. 49]</ref> [[Terig Tucci]] (1942)<ref name="biog"/><ref>''The New York Times'', January 18, 1942, p. 27</ref><ref name="article6">''The New York Times'', January 17, 1942, p. 30</ref><ref>''The New York Times'', January 16, 1942, p. 19</ref><ref>''The New York Times'', January 14, 1942, p. 24</ref> [[Juan Arvizu]] (1940s);<ref>''The New York Times'', May 5, 1941, p. 32</ref> [[Nestor Mesta Chayres]] (1940s);<ref>''The New York Times'', April 23, 1944, p. X5</ref> [[Eva Garza]] (1940s);<ref>''The New York Times'', January 23, 1944, p. X9</ref><ref name="auto8"/> [[Elsa Miranda]] (1940s),<ref name="Media">{{cite book |editor1-last=Bronfman |editor1-first=Alejandra |editor2-last=Wood |editor2-first=Andrew Grant |title=Media, Sound, and Culture in Latin America and the Caribbean |date=2012 |publisher=University of Pittsburgh Press |location=Pittsburgh, PA |isbn=978-0-8229-6187-1 |page=49 |url=https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49}}</ref><ref name="Banana">{{cite magazine|magazine=Billboard|title=Banana E.T. Proves Good Eating for Elsa Miranda|url=https://books.google.com/books?id=YBgEAAAAMBAJ&pg=PT3 |access-date=July 25, 2018|date=February 2, 1946|pages=3–}}</ref><ref name="Bratkovich2014">{{cite book|last=Bratkovich|first=Colin|title=Just Remember This |url=https://books.google.com/books?id=5WwBBQAAQBAJ&pg=PA173 |access-date=July 25, 2018|date=May 8, 2014|publisher=Xlibris |isbn=978-1-4836-4519-3 |page=173}}</ref> [[Los Panchos]] Trio (1946),<ref>[https://books.google.com/books?id=ql_sDwAAQBAJ&dq=CBS+Pan+American+Orchestra+Alfredo+Antonini&pg=PT74 ''Beyond the Black and White TV: Asian and Latin American Spectacle in Cold War America''. Han, Benjamin M. Rutgers University Press, 2022 "Viva America" Edmund Chester and Los Panchos on Google Books]</ref><ref>[https://books.google.com/books?id=DBoEAAAAMBAJ&dq=Los+Panchos+trio+La+Palma&pg=PT28 The Billboard – Music Popularity Charts: Alfredo Antonini and his Viva America Orchestra record album with Los Panchos Trio (Pilotone 5067) November 16, 1946, p. 29 on books.google]</ref><ref>[https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995988?adppopup=true Photograph of Los Panchos Trio and Manolita Arriola on the Viva America Show 1946 on Getty Images]</ref> and [[Manolita Arriola|Manuolita Arriola]] (1946)<ref>[https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995940?adppopup=true Photograph of Manolita Arriola and Nestor Chayres for "Viva America" 1946 CBS on Getty Images]</ref> Under the supervision of [[Edmund Chester]], these performances were beamed over CBS' Network of the Americas ("La Cadena de las Americas") across the Latin America continent to over twenty countries<ref name="Qx00pQIkclMC p. 152-155">[https://books.google.com/books?id=Qx00pQIkclMC&q=ociaa&pg=PA166 OCIAA, CBS' Cadena de las Americas, Edmund Chester, Viva America, Office of War Information & Armed Forces Radio Service ''Dissonant Divas in Chicana Music the Limits of La Onda''. Vargas, Deborah. University of Minnesota Press, Minneapolis, MN, 2012 p. 152-155 on Google Books]</ref><ref>''Time'' – Radio: La Cadena, June 1, 1942 [http://content.time.com/time/subscriber/article/0,33009,790530-1,00.html William S. Paley, Edmund Chester, La Cadena de las Americas -CBS broadcast network to South America for news and cultural programs on Content.time.com]</ref> and rebroadcast by the United States Office of War Information and the United States Armed Forces Radio Service.<ref>{{cite book |url=https://books.google.com/books?id=L3WyZ9A4_XEC&pg=PA198 |title=The Directory of the Armed Forces Radio Service Series |first=Harry|last=Mackenzie |date=26 November 1999 |publisher=Greenwood Publishing Group|page=H 21|access-date=26 November 2018 |via=Google Books|isbn=9780313308123 }}</ref><ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&q=Viva+America&pg=PA198 ''The Directory of the Armed Forces Radio Service Series'' H-21 VIVA AMERICA on Google Book]</ref><ref name="Qx00pQIkclMC p. 152-155"/> Performances by members of Antonini's CBS Pan American Orchestra on ''Viva America'' have been credited with helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States in the 1940s.<ref name="auto9"/><ref name="auto8"/>

In addition, Serry also recorded examples of music unrelated to the bolero. During the 1940s he collaborated with the Mischa Borr Orchestra and the vocalist [[Sidor Belarsky]] to record several Russian and Ukrainian folk songs for Victor records including: "[[Dark Is the Night (Soviet song)|Dark Night]]" (Victor 26–5037, 1946) by [[Nikita Bogoslovsky]],<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005388/D6FB-2220-Dark_night Victor matrix D6FB-2220 Audio recording of "Dark Night" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "Hobo Song" (aka "Mother") (Victor 26–5036, 1946) by [[Valery Zhelobinsky]],<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005403/D6FB-2221-Hobo_song Victor Matrix D6FB-2221 Audio recording of "Hobo Song" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "By the Cradle" (Victor 26–5035, 1946),<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005390/D6FB-2222-By_the_cradle Victor Matrix D6FB-2222 Audio recording of "By the Cradle" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "Katusha" (Victor 26–5035, 1946) by [[Hy Zaret]]<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005391/D6FB-2223-Katusha Katusha Victor Matrix D6FB-2223 Audio recording of "By the Cradle" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref><ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 John Serry accordionist, Sidor Belarsky vocalist & Mischa Borr Orchestra recordings listed on The University of California Santa Barbara Library's Discography of American Historical Recordings]. Accessed December 29, 2022.</ref> In 1946 he also made a guest appearance as the "outstanding accordionist of the year" on [[Gordon Macrae]]'s ''Skyline Roof'' broadcast under the direction of [[Archie Bleyer]] on the WABC-CBS network and as a guest on the ''Danny O'Neil Show''.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Item 8 audio disc p. 18 in The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 4 Recordings: Item 9 p. 18, 12" audio disk of John Serry's guest appearance on the Danny O'Neil Show in the John J. Serry Sr. Collection archived at the University of Rochester Eastman School of music on esm.rochester.edu]</ref><ref name="otrrpedia.net">{{Cite web |url=http://otrrpedia.net/getprogram1.php?item=2485 |title=Gordon MacRae Show, the |access-date=March 8, 2017 |archive-url=https://web.archive.org/web/20170309071138/http://otrrpedia.net/getprogram1.php?item=2485 |archive-date=March 9, 2017 |url-status=dead }}</ref> By 1948, he also appeared in concert with Mischa Borr's Orchestra at the Waldorf Astoria Hotel's Wedgewood Room.<ref name="google.com"/>
{{external media|float=right|width=125px|image1=Photograph of John Serry on the CBS radio network circa 1940s in the John J. Serry Sr. Collection Archive. [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf '''Here on Esm.rochester.edu''']}}

Serry recorded his work "Leone Jump" as a member of the Biviano Accordion & Rhythm Sextette with [[Tony Mottola]] on guitar and Angelo Delleria on accordion for Sonora Records in 1945.<ref name="ReferenceA">{{cite web |url=https://archive.org/details/78_swing-low-sweet-chariot_joe-biviano-his-accordion-and-rhythm-sextette-john-serry_gbia0037324|title=Leone Jump; Swing Low, Sweet Chariot; The Jazz Me Blues; Nursery Rhymes |first1=his Accordion and Rhythm Sextette|last1=Joe Biviano|last2=Tom Delaney|last3=John Serry|access-date=November 26, 2018|website=Archive.org}}</ref><ref name="auto5">{{cite web|url=https://archive.org/details/mbid-47ec1899-c909-4d5f-b38c-4920df8f57d9|title=Accordion Capers|first=his Accordion and Rhythm Sextette |last=Joe Biviano|date=November 26, 2018|access-date=26 November 2018|website=Archive.org}}</ref><ref name="hubcap.clemson.edu">{{cite web|url=http://campber.people.clemson.edu/sonora.html |title=The Sonora Label|website=Campber.people.clemson.edu|access-date=November 26, 2018}}</ref><ref name="Inc.1946">{{cite magazine |title=Record Reviews |magazine=Billboard |url=https://books.google.com/books?id=9BkEAAAAMBAJ&pg=PA124 |date=April 27, 1946|page=124 |issn=0006-2510}}</ref> The album includes performances of "[[Little Brown Jug (song)|Little Brown Jug]]", "Golden Wedding", "[[Swing Low Sweet Chariot]]", "[[That's a Plenty]]", and "The Jazz Me Blues".<ref name="web.archive.org">{{cite web |url=http://www.classicjazzguitar.com/albums/artist_album.jsp?album=747|archive-url=https://web.archive.org/web/20021107052600/http://www.classicjazzguitar.com/albums/artist_album.jsp?album=747|archive-date=2002-11-07|title=Classic Jazz Guitar – Albums |date= November 7, 2002 |access-date=November 26, 2018 }}</ref><ref name="auto5"/> His composition "Fantasy in F" was completed during this decade in 1946.<ref name="Congress Copyright Office 1946, Pg. 153">The Library of Congress Copyright Office, ''Fantasy In F (Fantasia, Accordion, F Major)'', Composer John Serry, 1946, Copyright #EP7274 [https://archive.org/stream/catalogofcopyrig413libr#page/152/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 153]</ref> The critic Henry Doktorski has described it as a "novelty piece" and likened it to [[Zez Confrey]]'s composition "Dizzy Fingers".<ref>[https://www.ksanti.net/free-reed/reviews/ktrio.html ''The Free-Reed Review''- "CD Review: The K Trio" by Henry Doktowski – "Fantasy in F" by John Serry likened to Zez Confrey's "Dizzy Fingers" on ksanti.net]</ref> In 1946 he also appeared in the "Accordion World" concert at Manhattan Center with the accordionists Angello Dellairia and Joeseph Biviano.<ref>[https://www.google.com/search?q=John+Serry+accordion&tbm=bks&ei=BhTYY5TNCser0PEPkb-UgAw&start=30&sa=N&ved=2ahUKEwiU6Ky8_e_8AhXHFTQIHZEfBcA4FBDw0wN6BAgPEBs&biw=1553&bih=789&dpr=1 ''The Music Magazine/Musical Courier'' Volumes 133-134 1946 p. 34 Acordion World Concert at Manhattan Center...Joe Biviano, Angelo Dellairia, John Serry accordionists on Google Books]</ref> Later in 1949, the accordionist Joe Biviano collaborated with the RCA Victor Accordion Orchestra to record Serry's composition "Manhattan Hop" for RCA Victor.<ref name="BNF">{{cite web |title=BnF Catalogue général |url=http://catalogue.bnf.fr/ark:/12148/cb38585245q |website=Catalogue.bnf.fr |access-date=25 July 2018 |language=fr}}</ref><ref name=Archive.org>{{cite web |url =https://archive.org/details/78_manhattan-hop_joe-biviano-rca-victor-accordion-orchestra-john-serry_gbia0250375b |title = Manhattan Hop by Joe Biviano, RCA Victor Accordion Orchestra (20-3388-B), John Serry|access-date=8 December 2021|website=Archive.org}}</ref> He also recorded several popular songs for Victor Records as a member of the noted [[Charles Magnante]] Accordion Band in 1941 including: "Clarinete Polka", '"Halli-Hallo- Halli", "Le Secret" and "Swing Me A Polka".<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John John Serry (aka John Serrapica) as a member of the Magnante Accordion Band on the University of California – Santa Barbara Library's: Discography of American Historical Recordings at adp.library.ucsb.edu]. Accessed December 29, 2022.</ref> Both Magnante and Biviano were cofounders of the American Accordionists' Association several years earlier in 1938.<ref>[http://www.ameraccord.com/2018graphics/AAA-Formation.htm "American Accordionists' Association" Photograph of founding members including Charles Magnante and Joe Biviano], March 9, 1938 on ameraccord.com</ref><ref>[https://books.google.com/books?id=0Rjn2wL0NzMC&dq=American+Accordionists+Association&pg=PA169 ''The Accordion of the Americas: Klezmer, Polka, Tango, Zydeco and More!''] Simonett, Helena. University of Illinois Press 2012 p. 169 {{ISBN|9780252037207}} Citation for Charles Magnanate and Joe Biviano identified as cofounders of the American Accordionists' Association (1939) on Google Books</ref>

By the end of the 1930s an "accordion craze" had swept the nation.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=accordion ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 pp. 124-125 Accordion craze nationwide on Google Books.com]</ref> Numerous accordion studios soon emerged within the major ethnic population centers of the East coast, as well as within the rural South and West with an estimated enrollment of over 35,000 students in 1938.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=accordion ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 pp. 124-125 Accordion craze and accordion studio enrollments soar on Google Books.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – accordion schools appear nationwide enrolling hundreds of thousands of young students on GoogleBooks.com]</ref> As an educator, Serry founded and operated a music studio in Jamaica, Queens in New York City<ref>[http://www.accordionusa.com/?d=01-Mar-2017&lang=en#art2903 "Accordion USA"- ''A Boy and His Box'' by Joe De Clemente – John Serry identified as an accordion teacher in Jamaica, Queens in 1961] on accordionusa.com</ref> and Long Island, New York.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry...devoted himself to the teaching of his chosen instrument"] on archive.org</ref> Between 1945 and the late 1980s he provided instruction on accordion, piano, and organ.<ref name="biog">{{cite magazine|magazine=Accordion World|title=Biography |place=Bedford Hills, New York|date=March 1946 |volume=11 |issue=11 |page=3}}</ref><ref name="Gliding">{{cite news |title=Auricle is Gliding with Good Reviews |url=https://www.newspapers.com/newspage/136970688/ |access-date=25 July 2018 |work=Democrat and Chronicle |date=7 July 1978 |location=Rochester, New York |page=13}}</ref> His pupils included Anthony Ettore, president of the American Accordionist's Association,<ref>{{cite web |url=http://www.aamsaccordionfestival.com/2005/ettore.html |title=2005 Honoree – Tony Ettore |access-date=2011-07-07 |url-status=dead |archive-url=https://web.archive.org/web/20110707072342/http://www.aamsaccordionfestival.com/2005/ettore.html |archive-date=2011-07-07}}</ref> Michael Torello, a composer and accordionist<ref>[https://libraries.uta.edu/search?Bquery=Michael+Torello UTA Libraries: "Montclair State College School of Fine and Performing Arts Presents The American Society of University Composers Region II Conference" – Biography of Michael Torello – "he moved... to New York City where he studied the accordion with John Serry and later joined the staff at the Serry Studio", Publisher – Montclair State College, New Jersey, 21 February 1987 p. 17 on libraries.uta.edu]</ref><ref>[https://www.newspapers.com/article/bennington-banner/53218532/ Newspapers Ancestry: "Michael Torello" Obituary, Bennington Banner, Vermont, 7 September 1994 p. 16, " Mr. Torello was an accomplished musician of the contra bass, piano and accordion.... and staff accordionist with Serry Studios in Jamaica, NY", Michael Torello on Newspapers Ancestry]</ref> and [[Robert Davine]], an accordionist and educator at the Lamont School of Music at the University of Denver<ref name="Davine">{{cite web |title=Robert Davine: 1924–2001 |url=http://www.ksanti.net/free-reed/essays/davinetribute.html |website=Ksanti.net |access-date=July 25, 2018}}</ref> as well as his son John Serry Jr.<ref>[https://jazzbluesnews.com/2018/02/07/john-serry/ ''Interview with John Serry: Can Jazz be a creative progressive art form?'' February 7, 2018 John Serry Jr. identifies his father John Serry as his first instructor on the accordion at the age of 4-11 on jazzbluesnews.com]</ref><ref>[https://democratandchronicle.newspapers.com/search/#query=John+Serry+Jr. Democrate and Chronicle July 7, 1978 p. 13 John Serry Jr. (pianist) is the son of John Serry -an instructor of piano and accordion, studies accordion at the age of four with his father on democrateandchronicle.newspapers.com]</ref> During the 1950s one of his students, Roy Appey, emerged as the first prize winner in a performance competition hosted by the American Accordionists' Association.<ref>[http://www.ameraccord.com/search.php ''American Accordionists' Association Newsletter'': "AAA Competitions in the '50s", May-June 2020 p. 13 John Serry music studio on ameraccord.com/search.php]</ref> In addition, Serry was invited to contribute to the annual series of Master Accordion Classes and seminars sponsored by the American Accordionists Association in New York City in August 2000.<ref name="Accordion">{{cite web |title=Accordion Weekly News |url=http://www.accordions.com/index/squ/en_squ_00_05_19.shtml#o |website=Accordions.com |access-date=July 25, 2018 |date=May 19, 2000}}</ref>
He also published several method books for his elementary, intermediate, and advanced grade students between 1945 and 1955.<ref name="article10" /><ref name="worldcat.org">[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=1 ''John Serry's Accordion Method Book 3 Intermediate Course'' (1955) on worldcat.org]</ref><ref name="lccn.loc.gov">{{cite book|url=http://lccn.loc.gov/unk84127828|title=LC Catalog – Item Information (Full Record) |via=lccn.loc.gov |access-date=26 November 2018}}</ref> In addition, he took note of the limitations imposed by the [[Stradella bass system]] during performances of classical music. In an effort to circumvent these limitations, he designed and developed a working model of a [[free-bass system]] for the accordion during this decade. It incorporated dual keyboards for the soloist's left hand while incorporating two sets of reeds which were tuned in octaves. This gave the soloist access to a range of tones which exceeded three and one-half octaves.<ref name="Jacobson">{{cite book |last1=Jacobson |first1=Marion |title=Squeeze This!: A Cultural History of the Accordion in America |date=2012 |publisher=University of Illinois Press |location=Urbana, IL |isbn=978-0-252-03675-0 |page=61}}</ref><ref name=Jacobson2007/>

=== The 1950s: Broadway and television ===
[[File:Shubert Theatre NYC.jpg|thumb|upright=0.85|right|[[Shubert Theatre (New York City)|Shubert Theatre]] in New York City Shubert Theatre NYC]]
During the early days of network television in the 1950s, Serry performed at CBS as a staff member of the original CBS Orchestra (1949–1960)<ref name="article11" /> and an accompanist on several live network television programs including ''The Jackie Gleason Show'' in 1953,<ref name="article11" /> ''The Frank Sinatra Show'' in the 1950s,<ref name="article11" /> and on the prime time drama ''I Remember Mama'' in 1953 starring [[Peggy Wood]].<ref>{{cite web |url=http://www.classicthemes.com/50sTVThemes/themePages/mama.html |title=Mama|website=Classicthemes.com|access-date=26 November 2018}}</ref><ref name="article11" /> Following introductions by his young son Robert, he was also featured as a soloist on the talent show ''Live Like A Millionaire'' on the NBC radio network in 1951.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music: Sibley Music Library Special Collections – John J. Serry Sr. Collection Archive: Series 4 Recordings – Item #5, p. 18 Audio Recording of John Serry and his son Robert on the show ''Live Like A Millionaire''. October 22, 1951 the John J. Serry Sr. Collection on Google.com]</ref><ref>[https://books.google.com/books?id=MQTXjvYu8ugC&dq=Live+Like+A+Millionaire+Radio+Show&pg=PA50 Radio: A Complete Guide to the Industry. Richter, William A. P. Lang Publisher. 2006 p. 50 "Radio Talent Shows: Live Like A Millionaire" ISBN 0-8204-8834-8 Live Like A Millionaire Radio Show on google Books]</ref>

In 1951 he also arranged his compositions ''La Culebra'' and ''African Bolero'' for solo flute. He dedicated the scores to his close friend [[Julius Baker]], who subsequently performed them on a demo recording.<ref>[https://search.worldcat.org/title/937406214 "African Bolero", "Desert Rhumba" Musical Scores, Composer John Serry, Dedicatee Julius Baker. See John Serry on Worldcat.org]</ref><ref>[https://search.worldcat.org/title/937406215 "La Culebra" Musical Score, Composer John Serry, Dedicatee Julius Baker. See John Serry on worldcat.org]</ref><ref>{{cite web |url=http://library.juilliard.edu/search/o937406215 |title=See hand written dedication notes "written for and dedicated to my friend Julius Baker, 1951" on Page # 3 of the score |website=Library.juilliard.edu |access-date=26 November 2018}}</ref><ref>{{cite web |url=http://library.juilliard.edu/search/o937406214 |title=See handwritten dedication notes "written for and dedicated to my friend Julius Baker, 1951" on Page # 3 of the score|website=Library.juilliard.edu|access-date=26 November 2018}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 4- Item #6 p. 18, 10" audio disc recording of "Desert Rhumba" & "The Rattlesnake" (La Culebra)" composer John Serry, flautist Julie Baker" in the John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> In the same year, his photograph was featured within an article about the accordion which was published by the journal ''International Musician'' – the official publication of the [[International Federation of Musicians]],<ref>[https://worldradiohistory.com/Archive-All-Music/International-Musician/50s/International-Musician-1951-05.pdf ''International Musician'' – "Accordion Instrument Played with A Smile", Hope Stoddard, May 1951, p. 10-11 Contributing writers Charles Nunzio & Sergei Matsusewitch – Photograph of John Serry within the article published in the journal ''International Musician'' by the American Federation of Musicians posted on worldradiohistory.com]</ref> along with photographs of such noted accordionists as: Louis Del Monte, [[Pietro Frosini]], [[Anthony Galla-Rini]], Charles Magnante, Charles Nunzio, and [[Art Van Damme]].<ref>[https://worldradiohistory.com/Archive-All-Music/International-Musician/50s/International-Musician-1951-05.pdf ''International Musician'' – "Accordion Instrument Played with A Smile", Hope Stoddard, May 1951, p. 10-11 Contributing writers Charles Nunzio & Sergei Matsusewitch – Photographs of: Louis Del Monte, Pietro Frosini, Charles Nunzio, Charles Magnante , Anthony Galla-Rini, Art Van Damme within the article as published in the journal ''International Musician'' by the American Federation of Musicians posted on worldradiohistory.com]</ref> By 1953, he was also photographed by the Bell accordion company as one of several leading accordion artists along with [[Tony Lavelli]] and Vince Geraci.<ref>[https://books.google.com/books?id=DkefSLB2nucC&q=John+J.+Serry+accordionist PTM, Piano trade Publishing Vol. 50 1953 p. 46 John J. Serry accordionist on Google books]</ref>

During this time he also performed under the musical direction of [[Andre Kostelanetz]] at CBS.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' show "John Serry...appearing under the musical direction of Andre Kostelanetz" – See the album on archive.org]</ref> As the first accordionist in the Serry Sextette, he recorded his own arrangements of several popular melodies and classical themes for the [[RCA Thesaurus]] [[electrical transcriptions]]<ref name="Kenney2003">{{cite book|author=William Howland Kenney|title=Recorded Music in American Life: The Phonograph and Popular Memory, 1890–1945|url=https://books.google.com/books?id=Cvk_AP6LwUgC&pg=PA191|date=November 2003|publisher=Oxford University Press|isbn=978-0-19-517177-8|pages=191–}}</ref> catalog in 1954 <ref>[https://www.google.com/search?tbm=bks&q=RCA+Thesaurus+John+Serry Radio Daily-Television Daily. Publisher: Radio Daily Corporation 29 October 1954, p. 8 – "RCA Thesaurus cut a session of Latin-American music, polkas, and novelties with the John Serry Accordion Quartet", RCA Thesaurus John Serry on Google Books]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/ Eastman School of Music: Sibley Music Library: Ruth T. Watanabe Special Collections Dept.- "The John Serry Sr. Collection" – Items donated to the library for archive include an audio recording by the Serry Sextette and his Bel-Cordions for RCA Thesaurus on www.esm.rochester.edu]</ref> during [[Ben Selvin]]'s tenure as [[A & R]] Manager for RCA Victor.<ref>[https://books.google.com/books?id=OUUEAAAAMBAJ&dq=Ben+Selvin+Dot+Records&pg=PA17 The Billboard: "Selvin to Quit Peer for RCA" – Ben Selvin appointed as A & R Manager for RCA Victor Custom Records Division – Thesaurus Library, February 14, 1953 p. 17 on Google Books]</ref><ref>[https://books.google.com/books?id=V0UEAAAAMBAJ&dq=Ben+Selvin+Dot+Records&pg=PA3 The Billboard: "Friends Fete Ben Selvin As He Leaves Industry" – In 1953 he started his decade with RCA Victor, March 23, 1963 p. 3 & p. 6 on Google Books]</ref>
Performances on the radio also continued during this period and included: appearances as a member of the Magnante Accordion Quartet, on ''The Lucky Strike Hour'', ''Waltz Time'', and ''The American Melody Hour (1940s)''. He occasionally substituted for the quartet's founder [[Charles Magnante]].<ref name="article10" />

On the Broadway stage he performed under director [[Harold Clurman]] in a production of [[Arthur Laurents]] play ''[[The Time of the Cuckoo]]'' with [[Shirley Booth]] and [[Dino Di Luca]].<ref name="article12" /><ref name="OxErAAAAIBAJ 2350, p. 12">[https://books.google.com/books?id=OxErAAAAIBAJ&dq=%22John+Serry&pg=PA12&article_id=2350,124787 "Celebrating National Music Week – Accordion Concert" : John Serry – p. 12...appearing with award winner Shirly Booth in "Time of the Cuckoo" See photograph and caption of John Serry in the "Reading Eagle" April 19, 1953 p. 12 on Google Books]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection – Series 3: Scrapbook – contains a clipping with a photograph from the "New York Journal American" May 25, 1953 p. 15 showing the stage cast door from the Empire Theater with Shirley Booth pointing to signatures of the cast of "The Time of the Cuckoo" which includes John Serry's signatue. The John J. Serry Sr. Collection p. 17 Series 3 Scrapbook Box 3 Item 1 archived at the University of Rochester Eastman School of Music on esm.rochester.edu]</ref>
By 1953, he had also arranged music which was edited by [[Lawrence Welk]] and utilized in a course of study for the piano accordion by the U. S. School of Music,<ref>[https://books.google.com/books?id=yDkcAQAAMAAJ&q=John+Serry "Library of Congress- Music and Phonorecords Catalog 1953", p. 881 – "U. S. School of Music" – John Serry arranger, Lawrence Welk editor on google.com/books]</ref> which was described years later as the oldest home study music school chartered by the Board of Regents in New York State with a total worldwide enrollment of over one million students.<ref>[https://books.google.com/books?id=U1TWAAAAMAAJ&dq=U.S.+School+of+Music&pg=RA1-PA739 "Statement of George R. Kemp, President U.S. School of Music" -The United States Congress Senate Committee on Post Office and Civil Service – 1962 p. 739 on Google Books]</ref> The school also utilized his photograph to encourage enrollment in its course of study for the piano accordion.<ref>[https://books.google.com/books?id=r9gDAAAAMBAJ&dq=John+Serry+Popular+Mechanics&pg=PA37 "U. S. Music School – Music Lessons...From Fine Teachers....John Serry-piano accordion" on Google Books]</ref> In the same year, he appeared as a featured soloist at an accordion concert hosted at the [[Rajah Theatre]] in Reading, Pennsylvania.<ref name="ArAAAAIBAJ p. 38"/><ref name="OxErAAAAIBAJ 2350, p. 12"/> He also completed arrangements of popular songs for [[Seeburg Corporation|Seeburg]]'s jukeboxes featuring three accordions, violins, vibes, guitar, bass, percussion and piano. Included among them were: ''[[I Get a Kick Out of You]]'', ''[[Mimi (song)|Mimi]]'', ''[[The One I Love (Belongs to Somebody Else)|The One I Love]]'', ''[[Swingin' Down the Lane]]'', and ''[[Tico-Tico no Fuba|Tico-Tico]]''.<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 4- Folder 8 p. 14 as archived at the University of Rochester Eastman School of Music]</ref>

In 1956 Serry composed, arranged and performed several compositions for [[Dot Records]] (#DLP3024)<ref>[http://bsnpubs.com/dot/dotb.html "Dot Album Discography" DLP-3024 Squeeze Play – John Serry (1956) on bsnpubs.com]</ref> with [[Al Caiola]] and [[Bernie Leighton]] on his album ''[[Squeeze Play (album)|Squeeze Play]]'' <ref name="Inc.1956">{{cite magazine |title=Dot into Pkgs |magazine=Billboard |url=https://books.google.com/books?id=XkUEAAAAMBAJ&pg=PA22 |date=8 September 1956 |pages=22– |issn=0006-2510}}</ref><ref name="BillboardSqueezePlay">[https://books.google.com/books?id=hgoEAAAAMBAJ&pg=PA22 Review of album ''Squeeze Play'', p. 22] in ''[[Billboard (magazine)|The Billboard]]'', 1 December 1956</ref> during [[Billy Vaughn]]'s tenure as music director at Dot Records.<ref>Colin Larkin, ed. (2002). The Virgin Encyclopedia of Fifties Music (Third ed.). Virgin Books. pp. 466/7. {{ISBN|1-85227-937-0}}</ref><ref>[https://www.nytimes.com/1991/09/28/obituaries/billy-vaughn-is-dead-jazz-musician-was-72.html "Billy Vaughn is Dead; Jazz Musician was 72", New York Times Obituary -"Billy Vaughn was music director for Dot Records", September 28, 1991 on Google Books]</ref><ref>[https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/vaughn-billy "Billy Vaughn" Biography on encyclopedia.com]</ref><ref>{{Gilliland |url=https://archive.today/20120805065905/http://www.library.unt.edu/music/special-collections/john-gilliland/t-z |title=T-Z – Interview Index |show=6}}</ref><ref>[http://www.grandorchestras.com/bvaughn/bvaughn_biography.html ''Biography of Billy Vaughn'' : Vaughn becomes music director of Dot Records in 1954 on grandorchestras.com]</ref> The production received a critical review as a new popular album in ''[[The Billboard (magazine)|The Billboard]]'' in 1956 and was cited for establishing a beautiful soothing mood.<ref name="ReferenceB">{{cite web|url=https://books.google.com/books?id=hgoEAAAAMBAJ&pg=PA22|title=Billboard|date=December 1, 1956|page=22|via=Google Books}}</ref> The album was also critically reviewed in ''[[Cash Box (magazine)|Cash Box]]'' magazine later that year.<ref name="worldradiohistory.com">[https://worldradiohistory.com/Archive-All-Music/Cash-Box-Magazine.htm Review of the album "Squeeze Play" in "The Cash Box" magazine – See Album Reviews column on December 8, 1956 p. 38 on americanradiohistory.com]</ref> It features his original composition ''Garden In Monaco'' which is adapted from the theme of an ancient Italian serenade.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' describe Serry's oringinal composition ''Garden In Monaco'' – See the album on archive.org]</ref><ref>[https://repertoire.bmi.com/Search/Catalog?Num=ghzHg9frLPth31%252fUPAVsUA%253d%253d&Cae=NyKQPAHJlG6xdIfufIKvLw%253d%253d&Search=%7B%22Main_Search_Text%22%3A%22Garden%20In%20Monaco%22%2C%22Sub_Search_Text%22%3Anull%2C%22Main_Search%22%3A%22Title%22%2C%22Sub_Search%22%3Anull%2C%22Search_Type%22%3A%22all%22%2C%22View_Count%22%3A20%2C%22Page_Number%22%3A0%2C%22Part_Type%22%3Anull%2C%22Part_Id%22%3Anull%2C%22Part_Id_Sub%22%3Anull%2C%22Part_Name%22%3Anull%2C%22Part_Cae%22%3Anull%2C%22Original_Search%22%3Anull%2C%22DisclaimerViewed%22%3Anull%7D&PartType=WriterList&ResetPageNumber=True&PartIdSub=YO0HedHMatLb45JzS23DVw%253d%253d "Garden in Monaco"; composer John Serry on BMI Songview catalog]</ref> Serry was applauded for establishing a wide variety of musical moods with grace, while simultaneously emphasizing a relaxed performance style.<ref name="worldradiohistory.com"/> In 1958 several songs from the album were released once again in France by Versailles records (# 90 M 178) as ''Chicago Musette – John Serry et son Accordéon''.<ref>{{cite web |url=http://www.vintagemusic.fm/release/John-Serry/ |title=Chicago Musette, John Serry |website=Vintagemusic.fm |access-date=26 November 2018 }}</ref><ref name="catalogue.bnf.fr">{{cite web |url=http://catalogue.bnf.fr/ark:/12148/cb38048510x |title=BnF Catalogue général |date=26 November 2018 |website=Catalogue.bnf.fr |access-date=26 November 2018 }}</ref><ref name="auto3">{{cite web|url=https://www.youtube.com/channel/UCKBYJZCilTiv4cvUCDLFWJQ/videos?disable_polymer=1|title=John Serry – Topic|website=YouTube|access-date=26 November 2018}}</ref> Dot Records also released several songs from the album in Japan as part of a compilation recording including the John Serry Orchestra and the Billy Vaughn Orchestra (''Ballroom in Dreamland'', Dot #5006).<ref name="discogs.com">[https://www.discogs.com/release/15138716-Various-Ballroom-In-Dreamland Album: ''Ballroom in Dreamland'' featuring music by the Billy Vaughn Orchestra and the John Serry Orchestra on discogs.com]</ref><ref>[https://www.cdandlp.com/en/various/ballroom-in-dreamland/lp/r2412382082/ ''Ballroom in Dreamland'' – Audio album featuring performances by the Billy Vaughn Orchestra and John Serry on cdandlp.com]</ref> These activities led to Serry's nomination to the "Who Is Who In Music International" in 1958.<ref name="article11" />
His advanced grade composition for accordion, ''[[American Rhapsody]]'' was completed and published during 1955.<ref name="ReferenceE">Library of Congress Copyright Office, ''American Rhapsody'', Composer: John Serry Sr., Copyright: Alpha Music, New York, New York, 1957</ref>

===The 1960s: Liturgical organ music ===
In 1960, Serry emerged as a performer in one of the first stereo recordings of an accordion orchestra on a major label for [[Coral Records]] with such noted instrumentalists as: Joe Biviano, [[Carmen Carrozza]], Angelo Di Pippo and Eugene Ettore.<ref>[https://books.google.com/books?id=oiNtRleCw6wC&q=John+Serry Music Trades: "Accordion Orchestra Featured on New Coral 12" Record" Vol. 109, 1961 p. 84 John Serry on Google Books]</ref><ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See album cover for performers credits including John Serry, Eugene Ettore, Carmen Carrozza and Angelo Di Pippo. Pietro Deiro on Discogs.com]</ref><ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref><ref>[https://www.bsnpubs.com/decca/coral/coral.html The Coral Album Discography. Edwards, David. Callahan, Mike. Eyrles, Patrice. Watts, Randy. Neely, Timothy. April 27, 2014. CRL-57323 "Pietro Deiro Presents the Accordion Orchestra" (1960) on bsnpubs.com]</ref> The ensemble of sixteen accordionists utilized modified piano accordions to recreate the orchestral sounds of several instruments while performing classical works by: Rimsky-Korsakov, [[Carl Maria von Weber]], Nicolo Paganini and Pyotr Ilyich Tchaikovsky.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref><ref>[https://search.worldcat.org/title/36735352?oclcNum=36735352 "Pietro Deiro Presents the Piano Accordion" See album cover notes. on Worldcat.org]</ref><ref>[https://www.discogs.com/release/12006299-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra Pietro Deiro, Joe Biviano The Accordion Orchestra (Coral, CRL-57323) See credits on album. Audio recording on Discogs.com]</ref> The recording was cited in ''Billboard Magazine'' for its high level of musicality.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref>

Several years later, Serry completed his ''[[Concerto For Free Bass Accordion]]'' in 1966 and subsequently transcribed it for piano in 2002.<ref name="Congress Copyright Office 1968">The library of Congress Copyright Office, ''Concerto for Bassetti Accordion'', Composer: John Serry Sr., June 4, 1968, Copyright # EP 247602</ref><ref>{{cite web|url=https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=Serry&Search%5FCode=NALL&CNT=25&PID=qtoCDJJcISkF-Y5Tnolj9EU37&SEQ=20180726172131&SID=7 |title=The Library of Congress Copyright Office – Public Catalog 1978 – Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> As the decade of the 1960s unfolded, however, the general public's interest in the accordion began to diminish in the United States while the popularity of [[rock music]] continued to grow.<ref name=Jacobson2007/><ref name="TQPXAQAAQBAJ 2013, p. 3">[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – Accordion & rock and roll on GoogleBooks.com]</ref><ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 4 Accordion and rock and roll music on Google Books]</ref> The ensuing revolution in popular music induced many young people to view the accordion as a "square relic" from their parents' generation which should be replaced by the electric guitar, electric piano and electronic organ.<ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 4 "Accordion" – the accordion is seen as a square relic and replaced by the guitar during the 1960s on GoogleBooks.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – In the late 1950s young people reject the accordion as old fashioned & take up the electric guitar, electric piano and electronic organ on GoogleBooks.com]</ref> As a result, many established accordion studios either diversified or closed down entirely.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Accordion+music+in+the+United+States+after+the+1960%27s&pg=PA67 "Squeeze This: A Cultural History of the Accordion in America". Jacobson, Marion. University of Illinois Press, 2012, p. 67 on google.com/books]</ref><ref name="TQPXAQAAQBAJ 2013, p. 3"/>
[[File:C.W. Post College, Brookville, Long Island. LOC gsc.5a29157.tif|thumb|upright=.95|left|[[C.W. Post College]], Brookville, Long Island. LOC gsc.5a29157]]

With this in mind, Serry devoted the remaining thirty-five years of his professional career to the performance of [[wedding music]] and liturgical music of the Catholic and Jewish faiths as a freelance organist at the Interfaith Chapel of [[Long Island University C W Post Campus]] in Brookville, N.Y. (1968-2002).<ref>''The New York Times'', 21 June 1964, p. 84</ref><ref>''The New York Times'', 9 June 1965, p. 47</ref><ref>''The New York Times'', 14 June 1987, p. LI22</ref><ref>''The New York Times''14 June 1987, P. New York Region</ref><ref name="Mitchell">{{cite news |url=https://www.nytimes.com/1987/06/14/nyregion/interfaith-chapels-in-demand.html? |title=Interfaith Chapels in Demand |first=Ellen |last=Mitchell |work=The New York Times |date=14 June 1987 |access-date=26 November 2018}}</ref> As more rabbis sought to unite couples of different faiths without first requiring conversions in the 1960s and 1970s,<ref>[https://books.google.com/books?id=ewdRDwAAQBAJ&dq=Interfaith+marriages+in+the+1960%27s&pg=PA22 "Beyond Chrismukkah: the Christian-Jewish Interfaith Family". Mehta, Samira K., university of North Carolina Press, 2018, p. 22 on google.com/books]</ref> he collaborated with several clergymen of both the Jewish and Catholic religious traditions including: Rabbi Nathaniel Schwartz<ref name="Mitchell"/> and the Rev. John Heinlein<ref>[https://www.nytimes.com/1984/03/18/style/no-headline-058256.html Rabbi Nathaniel Schwart officiates at the C. W. Post Interfaith Chapel]</ref><ref>[https://www.nytimes.com/1983/11/06/style/ther-ese-o-hara-and-g-a-krebs-wed.html Rabbi Nathaniel Schwartz and Rev. John Heinlein officiate at the C. W. Post Interfaith Chapel]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection: Series 3, p. 6 – Scrapbook containing musical programs as archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

During this period, he also transcribed his composition ''Processional March'' (1951) from piano for use on the organ in 1968.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Processional March (1951, Revised for Organ 1968)" Folder 18 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> In the years which followed, he composed several additional liturgical works for the choir of Notre Dame Parish on Long Island including: ''A Savior Is Born'' (1991, organ and solo voice), ''The Lord's Prayer'' (1992, organ and chorus) and ''Lamb of God'' (1994, for choir, flute and brass).<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folders: 26, 27, 28, p. 12 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

Serry died after a brief illness on [[Long Island]], New York in 2003, age 88.<ref>''Allegro'', American Federation of Musicians, New York, January 2004, Vol CIV, [http://www.local802afm.org/publication_entry.cfm?XEntry=23736371 No. 1.] {{webarchive|url=https://web.archive.org/web/20060528201555/http://www.local802afm.org/publication_entry.cfm?xEntry=23736371 |date=2006-05-28 }}</ref> 

==Performance style==
Several of John Serry's early live performances and recordings were reviewed by critics in such noted magazines as ''[[The Billboard (magazine)|The Billboard]]'', ''[[Cash Box (magazine)|Cash Box]]'' and ''The Players Magazine – National Journal of Educational Dramatics''.<ref name="ReferenceB"/><ref name="worldradiohistory.com"/><ref name="ReferenceD"/> His recording with the Biviano Accordion and Rhythm Sextette for Sonora Records in 1945 (''Accordion Capers'') was reviewed by ''Billboard'' magazine, which noted that the music on the album was strictly for listening as opposed to dancing.<ref name="Inc.1946"/> While accompanying a dramatic vocalist he was cited for contributing to an intriguing and nuanced performance.<ref>{{cite web |url=https://books.google.com/books?id=vsJYAAAAMAAJ |title=Players |date=26 November 2018 |publisher=National Collegiate Players |access-date=26 November 2018 |via=Google Books}}</ref> His recording of Latin American music with the Alfredo Antonini Viva America Orchestra was described as "as amongst the most attractive" by critics at ''The New Records'' in 1946.<ref name="auto7">The New Records. ''Latin American Music – Alfredo Antonini and Viva America orchestra'' H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, P. 6-7 [https://archive.org/stream/TNR14/The%20New%20Records%20Vol%2014#page/n77/mode/2up/search/Alfredo+Antonini ''Latin American Music – Alfredo Antonini and Viva America Orchestra'' critical review of the album in ''The New Records'' P. 6-7 on archive.org]</ref> In addition, his recording of classical compositions by Rimsky-Korsakov, Nicolo Paganini. Carl Maria von Weber and Pyotr Ilyich Tchaikovsky as a member of Pietro Deiro's Accordion Orchestra was cited by critics in ''The Billboard'' for its high level musicality.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref> His musical arrangements were also cited for using the accordion to convey a variety of musical moods with easy-going grace intended for low-pressure listening.<ref name="worldradiohistory.com"/> Above all else, he was applauded on his album ''Squeeze Play'' for utilizing the accordion to establish a beautiful, relaxed and soothing mood while avoiding a more common type of "show-off" performance.<ref name="ReferenceB"/><ref name="worldradiohistory.com"/>

==Works==
=== Compositions and arrangements ===
{{ external media|width= 200px |audio1= You may hear John Serry Sr. performing his "Leone Jump" with the Joe Biviano Accordion Rhythm Sextette and [[Tony Mottola]] in 1945 [https://archive.org/details/78_leone-jump_joe-biviano-his-accordion-and-rhythm-sextette-john-serry_gbia0071954c '''Here on Archive.org''']}}

{{colbegin}}
His compositions include:
* ''Desert Rumba'' (for accordion, 1939; publisher Antobal Music, 1951)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Desert Rumba" score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Glissando'' (for accordion, publisher Biviano Music, 1942)<ref>The Library of Congress Copyright Office, ''Glissando'', Composer John Serry, 1946, Copyright #EP8078 [https://archive.org/stream/catalogofcopyrig413libr#page/178/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 179]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Glissando" score p. 9 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Tarantella'' (for accordion, 1942; publisher Alpha Music, 1955)<ref>{{cite web|access-date=20 July 2023|title=Tarantella by John Serry archived at Oxford University, London|url=https://www.worldcat.org/title/945114625|date=1946|website=worldcat.org}}</ref>
* ''Valse'' (Composer Pytor Ilych Tchaikovsky (Opus 39 No. 8), arr. for accordion, publisher Viccas Music, 1946)<ref>{{cite web|url=http://www.theeuropeanlibrary.org/tel4/record/2000033945149?query=John+Serry|title=Valse ... Arranged by John Serry. Accordion Solo|first=Peter Ilich|last=Tchaikovsky|date=1946|website=The europeanlibrary.org|access-date=26 November 2018}}</ref><ref>{{cite web|url=https://www.worldcat.org/title/1061651613|title=Valse...arranged by John Serry. Accordion Solo|first=Peter Ilich|last=Tchaikovsky|date=1946|website=worldcat.org|access-date=20 July 2023}}</ref>
* ''Fantasy in F'' (for accordion, publisher Viccas Music, 1946)<ref>[http://www.ksanti.net/free-reed/reviews/ktrio.html "CD Review: The K Trio Images"]. ''The Free-Reed Review'', Henry Doktorski</ref><ref name="Congress Copyright Office 1946, Pg. 153"/><ref>{{cite web|access-date=20 July 2023|date=1946|title=Fantasy in F by John Serry archived at Oxford University, London|url=https://www.worldcat.org/title/945114698|website=worldcat.org}}</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Fantasy in F" score p. 9, orchestral arrangement score p. 13 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Invitation to Jive'' (for three accordions, guitar and bass, 1946)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Invitation to Jive" score p. 8 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Consolation Waltz'' (for accordion, publisher O. Pagani & Bro., 1948)<ref>The Library of Congress Copyright Office, ''Consolation Waltz'',Composer John Serry, O.Pagani & Bro., New York, 29 November 1949, Copyright # EP58852 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref>
* ''Uncle Charlie's Polka'' (for accordion, publisher O. Pagani Bro., 1948)<ref>The Library of Congress Copyright Office, ''Uncle Charlie's Polka'',Composer John Serry, O. Pagani & Bro., New York, 29 November 1949, Copyright # EP58854 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref>
* ''The Bugle Polka'' (for accordion, publisher O. Pagani Bro., 1948)<ref>The Library of Congress Copyright Office, ''Bugle Polka'',Composer John Serry, O.Pagani Bro., New York, 29 November 1949 Copyright #EP5883 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref><ref>[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=11 ''The Bugle Polka'' by John Serry (1949) on Worldcat.org]</ref>
* ''Leone Jump'' (for accordion, publisher Pietro Deiro, 1956)<ref name="web.archive.org"/><ref>{{cite web |url=http://78discography.com/Sonora.htm|title=Sonora Records 78rpm numerical listing discography |website=78discography.com |access-date=26 November 2018}}</ref><ref>The Library of Congress Copyright Office, ''Leone Jump'', Composer John Serry, 1946, Copyright # EP8079 [https://archive.org/stream/catalogofcopyrig413libr#page/354/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 355]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Leona Jump" orchestral score for 3 accordions, bass, rhythmic guitar & electric guitar p. 8 John J. Serry Collection archived at the University of Rochester]</ref>
* ''La Culebra'' (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)<ref>The Library of Congress Copyright Office,''La Culebra'', Composer John Serry Sr., March 7, 1951, Copyright # EU 233726</ref><ref>{{cite web |url=https://www.worldcat.org/identities/viaf-218300692/|title=John Serry Sr. 1915 – 2003 La Culebra |website=Worldcat.org |access-date=26 November 2018}}</ref><ref>[http://library.juilliard.edu/search~S1?/m20.1+Se685af+BakerBxC07f16/m20.1+se685af+bakerbxc07f16/-3%2C-1%2C0%2CB/frameset&FF=m20.1+se685cu+bakerbxc07f17&1%2C1%2C ''La Culebra'' – Flute solo, composer John Serry & dedicated on the score as "written for and dedicated to my friend Julius Baker, 1951" in the Julius Baker Music Collection Archive on Julicat at library.juilliard.edu]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection ""La Culebra" acore p. 8 & p. 9 score John J. Serry Collection archived at the University of Rochester]</ref>
* ''African Bolero'' (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)<ref>The Library of Congress Copyright Office, African Bolero Composer: John Serry Sr., March 7, 1951, Copyright # EU 233725</ref><ref>{{cite web |url=https://www.worldcat.org/identities/viaf-218300692/|title=John Serry Sr. 1915 – 2003 – African Bolero |website=Worldcat.org |access-date=26 November 2018}}</ref><ref>[https://www.juilliard.edu/school/library-and-archives/special-collections#peter-jay-sharp-special-collections Peter Jay Sharp Special Collections – Julius Baker Collection]</ref><ref>[http://library.juilliard.edu/search~S1?/dJulius+Baker+Music+Collection+%28Juilliard+School.+Lila+Acheson+Wallace+Library%29/djulius+baker+music+collection+juilliard+school+lila+acheson+wallace+library/-3%2C-1%2C0%2CB/frameset&FF=djulius+baker+music+collection+juilliard+school+lila+acheson+wallace+library&11%2C%2C1637 ''African Bolero''] – Flute solo, composer John Serry & dedicated on the score as "written for and dedicated to my friend [[Julius Baker]], 1951", in the Julius Baker Music Collection Archive on Julicat at library.juilliard.edu</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "African Bolero" score p. 9 John J. Serry Collection archived at the University of Rochester]</ref>
* ''The Syncopated Accordionist'' (for accordion, publisher/editor Charles Colin, 1952)<ref name="loc.gov">{{cite book|url=http://lccn.loc.gov/unk84158102|title=LC Catalog – Item Information (Full Record)|via=lccn.loc.gov|access-date=26 November 2018}}</ref><ref>The Library of Congress Copyright Office, ''The Syncopated Accordionist'', Composer John Serry a.k.a. John Serrapica, Charles Colin, New York 2 March 1953, Copyright #EP69650 [https://archive.org/stream/catalogofcopyrig375li#page/256/mode/2up/search/Serry Catalog of Copyright Entries 1953 Published Music Jan-Dec, Vol 7, Pt 5A, Pg. 257]</ref><ref>[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=11 ''The Syncopated Accordionist: Studies in Syncopation'' (1953) by John Serry on Worldcat.org]</ref>
* ''The First Ten Lessons for Accordion'' (for accordion, publisher Alpha Music, 1952)
* ''Accordion Method Books I, II, III, IV'' (for accordion, publisher Alpha Music, 1953)<ref name="worldcat.org"/><ref>[https://reverb.com/item/65777650-used-piano-accordion-music-book-john-serry-s-accordion-method-book-1-2 "Accordion Method Book 1 & 2" by John Serry on reverb.com]</ref>
* ''Rhythm-Airs for Accordion'' (editor John Serry, publisher Charles Colin & Bugs Bower, 1953)<ref>The Library of Congress Copyright Office, ''Rhythm-airs for the Accordionist'' Charles Colin & Bigs Bower, editor John Serry, Charles Colin, New York Vol. 1-2, 2 March 1953, Copyright #EP69648-69649 [https://archive.org/stream/catalogofcopyrig375li#page/58/mode/2up/search/Serry Catalog of Copyright Entries 1953 Published Music Jan-Dec Vol 7, Pt 5a, Pg. 58]</ref>
* ''La Cinquantaine'' (m. Gabriel Marie, arr. accordion quartet, publisher Alpha Music, 1954)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Accordion Quartet Arrangements" score p. 13 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Allegro'' (m. Joseph Hayden, arr. accordion quartet, publisher Alpha Music, 1954)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Accordion Quartet Arrangements" score p. 13 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Top Ten Accordion Solos – Easy to Play'' (editor: John Serrapica, publisher Alpha Music, 1954)<ref name="lccn.loc.gov"/><ref>The Library of Congress Copyright Office, ''Top Ten Accordion Solos – Easy To Play'', Publisher Broadcaste Music Inc. (BMI), Arranger John Serry, 12 July 1954, Copyright # A146305 [https://books.google.com/books?id=1RghAQAAIAAJ&pg=PA1405 Catalog of Copyright Entries Vol 8 Pt.1 Books and Pamphlets July-December 1954, p. 1405]</ref>
{{colend}}
{{colbegin}}
* ''Junior Accordion Band Series'' (arr. accordion quartet, publisher Alpha Music, 1955)<ref>[https://www.ebay.com/itm/254556663995 ''Junior Accordion Band Series'' by John Serry on ebay.com]</ref>
* ''Tango Verde'' (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Holiday in Rio'' (m. Terig Tucci, arr. accordion quartet, publisher Alpha Music, 1955)
* ''En Tu Reja'' (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Tango of Love'' (for accordion quartet, publisher Alpha Music, 1955)<ref name="auto4">{{cite web|url=http://repertoire.bmi.com/Catalog.aspx?detail=writerid&page=1&fromrow=1&torow=25&keyid=310127&subid=0 |title=BMI – Repertoire Search|website=Repertoire.bmi.com|access-date=26 November 2018}}</ref><ref name="repertoire.bmi.com">[https://repertoire.bmi.com/Search/Catalog?Num=ghzHg9frLPth31%252fUPAVsUA%253d%253d&Cae=NyKQPAHJlG6xdIfufIKvLw%253d%253d&Search=%7B%22Main_Search_Text%22%3A%22Garden%20In%20Monaco%22%2C%22Sub_Search_Text%22%3Anull%2C%22Main_Search%22%3A%22Title%22%2C%22Sub_Search%22%3Anull%2C%22Search_Type%22%3A%22all%22%2C%22View_Count%22%3A20%2C%22Page_Number%22%3A0%2C%22Part_Type%22%3Anull%2C%22Part_Id%22%3Anull%2C%22Part_Id_Sub%22%3Anull%2C%22Part_Name%22%3Anull%2C%22Part_Cae%22%3Anull%2C%22Original_Search%22%3Anull%2C%22DisclaimerViewed%22%3Anull%7D&PartType=WriterList&ResetPageNumber=True&PartIdSub=YO0HedHMatLb45JzS23DVw%253d%253d BMI-Songview Catalogue – songs by John Serry on repertoire.bmi.com]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Tango of Love" score p. 13 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Manolas'' (m. Escobar, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Petite Tango'' (for accordion quartet, publisher Alpha Music, 1955)<ref name="auto4"/><ref name="repertoire.bmi.com"/>
* ''The Lost Tango'' for accordion, Words by Edward Steinfeld, 1956)<ref>The Library of Congress Copyright Office, ''The Lost Tango'', m. John Serry, Words Edward Steinfeld, New York, New York, 14 June 1956 Copyright #EU440575 [https://archive.org/stream/catalogofcopyrig3105lib#page/134/mode/1up/search/Serry Library of Congress Catalog of Copyright Entries 1956 Unpublished Music Jan-Dec. Vol. 10, Part 5a, Pg. 134 on archive.org]</ref>
* ''Garden in Monaco'' (for accordion, publisher Alpha Music, 1956)<ref name="auto4"/><ref name="repertoire.bmi.com"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Garden in Monaco" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Rockin' the Anvil'' (for accordion, publisher Alpha Music, 1956)<ref name="auto4"/><ref name="repertoire.bmi.com"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Rockin' the Anvil" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Selected Accordion Solos'' (arr. accordion, publisher Alpha Music, 1956)
* ''Cocktails in Spain'' (for marimba, percussion, guitar, bass and organ, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Cocktails in Spain" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Spooky Polka'' (for accordion, publisher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Spooky Polka" score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Reeds in a Rush'' (for accordion, publisher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Reeds in a Rush" draft score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''American Rhapsody'' (for accordion, publisher Rumbasher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "American Rhapsody" score p. 10 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''[[I Get a Kick Out of You]]'' (m. [[Cole Porter]], arr. violins, three accordions, vibes, guitar, bass, drums, piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 4 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Mimi (song)|Mimi]]'' (m. [[Richard Rodgers]], arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 5 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[The One I Love (Belongs to Somebody Else)|The One I Love]]'' (m. Isham Jones, arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 6 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Swingin' Down the Lane]]'' (m. [[Isham Jones]], arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 7 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Tico-Tico no Fuba|Tico-Tico]]'' (m. [[Zequinha de Abreu]], arr. three accordions, guitar, bass and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder p. 14-15 archived at the University of Rochester Eastman School of Music]</ref>
* ''Processional for Organ'' (liturgical [[bridal march]] for organ, 1968)<ref name="River Campus 1980">[https://www.rochester.edu/pr/Review/V70N6/cn-u-80.html "Rochester Review" July-August 2008, Vol 70, No. 6 University of Rochester Alumnus magazine: River Campus (See Class of 1980) – Son of John Serry notes that his father's compositions and recordings have been submitted into the Sibley Library for archive]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Processional March" score p. 10 John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Falling Leaves'' (for piano, 1976)<ref>The Library of Congress Copyright Office,''Falling Leaves'', Composer: John Serry Sr., May 21, 1976, Copyright # EU 233726</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Falling Leaves" score p. 11 John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Elegy'' (for piano or organ, 1984 Rev. 1994)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Elegy" score p. 10 The John J. Serry Collection archived at the University of Rochester]</ref>
* ''Three Songs of Love'' (for voice and piano, poems by David Napolin, 1986)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Three Songs of Love" pp. 11-12 The John J. Serry Sr Collection archived at the University of Rochester]</ref>
* ''A Savior Is Born'' ([[Christmas]] liturgical for organ & voice, 1991)<ref>The Library of Congress Copyright Office, ''A Savior Is Born'', Composer: John Serry Sr., November 18, 1991, Copyright # PAU 1-575-137 [http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=9&ti=1,9&Search_Arg=Serry%20John&Search_Code=NALL&CNT=25&PID=6Ry2vjsI_BnOjbvb8nWIIpwJ9pUD7h&SEQ=20171030121559&SID=3 ''A Savior is Born'' on THe United States Copyright Office Online Catalog cocatalog.loc.gov]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "A Savior Is Born" score p. 12 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Dreams Trilogy'' (for solo piano, 1991)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Dreams Trilogy" score p. 11 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''The Lord's Prayer'' (liturgical [[Lord's Prayer]] for organ and chorus, 1992)<ref>The Library of Congress Copyright Office,'' The Lord's Prayer'', Composer: John Serry Sr., September 2, 1992, Copyright # PAU 1-665-838 [http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=8&ti=1,8&Search_Arg=Serry%20John&Search_Code=NALL&CNT=25&PID=6Ry2vjsI_BnOjbvb8nWIIpwJ9pUD7h&SEQ=20171030121559&SID=3 ''The Lord's Prayer '' on The United States Copyright Office Online Catalog cocatalog.loc.gov]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "The Lord's Prayer" score p. 12 The john Jerry Sr Collection archived at the University of Rochester]</ref>
* ''Lamb of God'' (liturgical hymn for choir, flute and bass, 1994)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Lamb of God" score p. 12 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Five Children's Pieces For Piano'' (for piano, 1996)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Five Children's Pieces For Piano" score p. 11 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
{{colend}}

=== Advanced compositions ===
Serry's compositions in the [[symphonic jazz]] and [[classical music]] genres include:<ref name="esm.rochester.edu">{{cite web |url=http://www.esm.rochester.edu/sibley/specialcollections |title=Ruth T. Watanabe Special Collections Home |website=Sibley Music Library |date=13 November 2019 |access-date=12 December 2022 }} Performers can locate the scores to "American Rhapsody" and "Concerto For Free Bass Accordion" which were donated to the [[Eastman School of Music]]'s [[Sibley Music Library]]'s – Ruth T. Watanabe Special Collections Department by contacting the archivist here.</ref><ref name="River Campus 1980"/><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection archived at the University of Rochester]</ref>

* ''[[American Rhapsody]]'' (for accordion, 1955: published by Alpha Music 1957; transcribed for piano, 2002)<ref name="ReferenceE"/><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "American Rhapsody" score Folder 12 & 19 p. 10 The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref>

* ''[[Concerto For Free Bass Accordion]]'' (for accordion, 1966; transcribed for piano, 1995–2002, unpublished, a.k.a. ''Concerto in C Major for Bassetti Accordion'')<ref name="Congress Copyright Office 1968"/><ref>{{cite web|url=https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=Serry&Search%5FCode=NALL&CNT=25&PID=qtoCDJJcISkF-Y5Tnolj9EU37&SEQ=20180726172131&SID=7 |title=The Library of Congress Copyright Office – Public Catalog 1978 – Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

== Discography ==
{{external media |width=200px |audio1= You may hear selections from the album "[[Squeeze Play (album)|Squeeze Play]]" (Dot Records,1956) [https://listenbrainz.org/artist/9ff7e10c-d72b-4948-9a2e-635b0ad19be0/ '''Here on Listenbrainz.org''']}}
* ''[[Squeeze Play (album)|Squeeze Play]]'' – Dot Records (catalogue #DLP-3024) (1956)<ref name="article11" /><ref name="BillboardSqueezePlay" /><ref>{{cite book |title=Squeeze play |date=26 November 2018 |oclc = 12935411}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection "Squeeze Play" audio recording of compositions and arrangements by John Serry in "The John J. Serry Sr. Collection" p. 19 at the Eastman School of Music on esm.rochester.edu]</ref>
* ''[[RCA Thesaurus]]''  – RCA Victor Transcriptions series of over thirty works. John Serry Sr. as a contributing arranger and soloist with The Bel-Cordions accordion Sextette ensemble and Ben Selvin – Music Director (1954).<ref name="article11" /><ref name="ReferenceF">[https://www.esm.rochester.edu/sibley/specialcollections/ Eastman School of Music: Sibley Music Library: Ruth T. Watanabe Special Collections Dept. at www.esm.rochester.edu]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "John Serry Sextette" audio recording for RCA Thesaurus of arrangements and performances by John Serry at the RCA Victor Sudios in 1954 p. 18 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
<ref>[https://www.google.com/search?tbm=bks&q=RCA+Thesaurus+John+Serry Radio Daily-Television Daily. Publisher: Radio Daily Corporation 29 October 1954, p. 8 – "RCA Thesaurus cut a session of Latin-American music, polkas, and novelties with the John Serry Accordion Quartet", RCA Thesaurus John Serry on Google Books]</ref> List of musical arrangements: ''Allegro'' – [[Joseph Haydn]], ''[[The Golden Wedding]]( La Cinquantaine)'' – [[Jean Gabriel-Marie]], ''Tango of Love'' – John Serry Sr., ''[[Shine On, Harvest Moon]]'' – [[Jack Noworth]] & [[Nora Bayes]], ''[[My Melancholy Baby]]'' – Ernie Burnett & George A. Norton, ''[[Singin' in the Rain (song)|Singin' in the Rain]]'' – [[Arthur Freed]] & [[Nacio Herb Brown]], ''[[Nobody's Sweetheart]]'' – [[Elmer Schoebel]]/[[Gus Kahn]], ''[[Chicago (That Toddlin' Town)|Chicago]]'' – [[Fred Fisher]], ''[[If You Knew Susie]]'' – [[Buddy DeSylva]] & [[Joseph Meyer (songwriter)|Joseph Meyer]], ''[[Somebody Stole My Gal]]'' – [[Leo Wood]], ''[[Ta-ra-ra Boom-de-ay]]'' – [[Paul Stanley (composer)]], ''[[Old McDonald]]'' – children's music, ''[[Beer Barrel Polka]]'' – [[Jaromir Vejvoda]]/[[Eduard Ingris]], ''I Love Louisa'' – [[Arthur Schwartz]]/[[Howard Dietz]], ''[[Oh You Beautiful Doll]]'' – Seymour Brown/ [[Nat D. Ayer]], ''[[Chinatown, My Chinatown]]'' -[[William Jerome]]/[[Jean Schwartz]] 
* ''Ballroom in Dreamland'' – Dot Records (catalogue # 5006) – a compilation album released in Japan featuring performances of Jazz, Latin and Classical music by the John Serry Orchestra and the [[Billy Vaughn]] Orchestra.<ref name="discogs.com"/>
* ''Pietro Deiro Presents the Accordion Orchestra'' – Coral Records (catalogue #CRL-57323) – as a member of an orchestra of sixteen accordionists interpreting the sounds of a traditional orchestra in performances of transcriptions from classical music under the direction of Joe Biviano.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 The Billboard- Reviews and Ratings of New albums "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 "Pietro Deiro Presents the Accordion Orchestra" Critical Review of the album on Google Books]</ref><ref>[https://search.worldcat.org/title/36735352?oclcNum=36735352 "Pietro Deiro Presents the Piano Accordion"- See the performers' credits and song listings on the record album on Worldcat.org]</ref><ref>[https://www.discogs.com/release/12006299-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra Pietro Deiro, Joe Biviano The Accordion Orchestra (Coral, CRL-57323). See the notes on the album cover. Photograph of the album on Discogs.com]</ref><ref>[https://www.bsnpubs.com/decca/coral/coral.html The Coral Album Discography. Edwards, David. Callahan, Mike. Eyrles, Patrice. Watts, Randy. Neely, Timothy. April 27, 2014. CRL-57323 "Pietro Deiro Presents the Accordion Orchestra" (1960) "The Coral Album Discography" on bsnpubs.com]</ref><ref>[https://books.google.com/books?id=oiNtRleCw6wC&q=John+Serry Music Trades: "Accordion Orchestra Featured on New Coral 12" Record" Vol. 109, 1961 p. 84 John Serry listed as a member of the accordion orchestra on the new Coral record. John Serry on Google Books]</ref>*:List of musical selections: ''Danse des Bouffons'' – [[Nikolai Rimsky-Korsakov]], ''Beguine di Roma'' – Joe Biviano, ''Invitation to the Dance'' – [[Carl Maria von Weber]], ''La Cumparsita'' – musical arrangement by Joseph Biviano, ''La Chasse'' – [[Niccolo Paganini]], ''Danse Chinoise'' – [[Pyotr Ilyich Tchaikovsky]], ''Three Blind Mice'' – musical arrangement by Joseph Biviano, ''Danse de Marlitens'' – [[Pyotr Ilyich Tchaikovsky]], ''Walse de Fleur'' – Pyotr Ilyich Tchaikovsky, ''The Flight of the Bumble Bee'' – Nikolai Rimsky-Korsakov, ''The Rooster'' – Joe Biviano, ''Careless one cha-cha-cha'' – Joe Biviano
{{ external media|width= 200px |audio1= You may hear John Serry performing "Lamento Gitano" with Nestor Mesta Chayres and the Alfredo Antonini Orchestra in 1946 [https://adp.library.ucsb.edu/index.php/matrix/detail/2000301745/73528-Lamento_gitano '''Here on DAHR''']}}
* ''Accordion Capers'' – Sonora Records (catalogue # MS 476) – as a member of the Biviano Accordion & Rhythm Sextette. (1947)<ref name="Inc.1946" /><ref>{{cite book|title=Accordion capers |date=26 November 2018 |oclc = 48679834}}</ref><ref name="web.archive.org"/>List of musical selections: ''[[Little Brown Jug (song)|Little Brown Jug]]''- [[Joseph Winner|Joseph Eastburn Winner]], ''[[The Golden Wedding]] (La Cinquantaine)'' – [[Jean Gabriel-Marie]], ''Leone Jump'' – John Serry, ''[[Swing Low, Sweet Chariot]]''- [[Wallace Willis]], ''[[That's a Plenty]]'' – [[Lew Pollack]], ''Scotch Medley'' – folk music, ''The Jazz Me Blues'' – [[Tom Delaney (songwriter)|Tom Delaney]]
* ''Latin American Music'' – Alpha Records (catalogue # 12205A, 12205B, 12206A, 12206B) – as a member of the Viva America Orchestra – Conductor Alfredo Antonini (1946)<ref>Billboard. ''Alpha's 12" Latin-Vinylites'', New York, Vol. 58 No. 13 30 March 1946, P. 22 [https://books.google.com/books?id=JBoEAAAAMBAJ&pg=PT21 Alpha Records release of Alfredo Antonini and Viva America Orchestra in Billboard on books.google.com]</ref>List of recordings: ''Caminito de tu Casa'' – [[Julio Alberto Hernández]], ''Chapinita'' – [[Miguel Sandoval (composer)|Miguel Sandoval]], ''Adios Mariquita Linda'' – Marcos A. Jimenez, ''Mi Nuevo Amor'', ''[[La Zandunga]]'' – Andres Gutierrez/Maximo Ramo Ortiz, ''La Mulata Tomasa'' – Lazaro Quintero, ''Tres Palabras'' – [[Osvaldo Farres]], ''[[Noche de ronda]]'' – [[Augustin Lara]]
* ''[[Granada (song)|Granada]]'' – Decca Records (catalogue # 23770A) – as a member of the Alfredo Antonini Orchestra with the lyric tenor [[Nestor Mesta Chayres]] (1946)<ref name="archive.org">{{cite web |url=https://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a|title=Granada|last1=Nestor Chayres |last2=Agustin Lara|last3=Alfredo Antonini|date=30 April 1946|access-date=26 November 2018|website=Archive.org}}</ref>
* ''Chiquita Banana'' – Alpha (catalogue # 1001A) – as a member of the Alfredo Antonini Orchestra, conductor Alfredo Antonini, vocalist [[Elsa Miranda]] (1946) <ref>[https://archive.org/details/78_chiquita-banana_elsa-miranda-alfredo-antonini-and-his-viva-america-orchestra-mckenz_gbia0185276a/CHIQUITA+BANANA+-+Elsa+Miranda+-+Alfredo+Antonini+and+his+Viva+America+Orchestra.flac "Chiquita Banana" performed by the Alfredo Antonini Viva America Orchestra & vocalist Elsa Miranda on archive.org]</ref>
* ''By the Cradle'' – Victor Records (catalogue # 26-5035) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: By the Cradle, John Serry accordionist on uscb.edu]</ref>
* ''Katusha'' – Victor Records (catalogue # 26-5035) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Katusha, John Serry accordionist on uscb.edu]</ref>
* ''Hobo Song'' – Victor Records (catalogue # 26-5036 ) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Hobo Song, John Serry accordionist on uscb.edu]</ref>
* ''[[Dark Is the Night (Soviet song)|Dark Night]]'' – Victor Records (catalogue # 26-5037) – accordionist in the Mischa Borr Orchestra, vocalist [[Sidor Belarsky]] (1946)<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Dark Night, John Serry accordionist on uscb.edu]</ref>
{{ external media|width= 200px |audio1= You may hear John Serrapica performing "Clarinet Polka" with the Charles Magnante Accordion Band in 1941 [https://adp.library.ucsb.edu/index.php/matrix/detail/200051914/BS-067554-Clarinet_polka '''Here on DAHR''']}}
* ''Leone Jump'' – Sonora Records (catalogue # 3001 B) – as a member of the Biviano Accordion & Rhythm Sextette. (1945)<ref name="hubcap.clemson.edu" /><ref name="web.archive.org"/><ref name="ReferenceA"/>
* ''Clarinet Polka'' – Bluebird (catalogue # B-11294-A) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200051914/BS-067554-Clarinet_polka John Serrapica as instrumentalist in the Charles Magnante Accordion Band in 1941 at the University of California Santa Barbara Library's Discography of American Historical Recordings at adp.library.ucsb.edu]</ref>
* ''Swing Me a Polka'' – Victor (matrix # BS-067555) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref name="adp.library.ucsb.edu">[https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John John Serrapica as a member of the Charles Magnante Accordion Band on the University of California Santa Barbara Library's Discography of American Historical Recordings at adp.library.ucsb.edu]</ref>
*''Le Secret'' – Victor (matrix # BS-067556) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref name="adp.library.ucsb.edu"/>
* ''Halli-Hallo-Halli'' – Victor (matrix # BS-067556) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941.<ref name="adp.library.ucsb.edu"/>
{{external media |width= 200px |audio1= You may hear John Serry Sr. with [[Los Panchos]] Trio and the [[Alfredo Antonini]] [[Viva America]] Orchestra performing a chilian cueca dance "La Palma" circa 1946 [https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 '''Here on Archive.org'''] |audio2= John Serry with Luis G. Roldan and the Orquesta CBS Pan-Americana C.B.S. performing "Tres Palabras" [https://frontera.library.ucla.edu/recordings/tres-palabras-0 '''Here on ucl.edu'''] |audio3=John Serry with Luis G. Roldan and the Orquesta CBS Pan-Americana C.B.S. performing "Esta Noche Ha Pasado" [https://frontera.library.ucla.edu/recordings/esta-noche-ha-pasado '''Here on ucla.edu''']}}
* ''Tres Palabras'' and ''Esta Noche Ha Pasado'' – Columbia Records (catalogue # 6201-X) – as a member of the CBS Pan American Orchestra – Conductor Alfredo Antionini, Vocalist Luis G. Roldan (194?)<ref name="ReferenceC">{{cite web |url=https://archive.org/details/78_tres-palabras_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-cbs-os_gbia0033510a |title=Tres Palabras |last1=Luis G. Roldan |last2=Alfredo Antonini y su Orquesta Pan-Americana C.B.S.|last3=Osvaldo Farres|access-date=26 November 2018|website=Archive.org}}</ref><ref name="archive1">{{cite web|url=https://archive.org/details/78_esta-noche-ha-pasado_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-c_gbia0033510b|title=Esta Noche Ha Pasado |last1=Luis G. Roldan |last2=Alfredo Antonini y su Orquesta Pan-Americana C.B.S.|last3=M. Sabre Marroquin|access-date=26 November 2018|website=Archive.org}}</ref>List of songs: ''Tres Palabras'' – [[Osvaldo Farres]], ''Esta Noche Ha Pasado'' – M. Sabre Marroquin
* '' Asi'' and ''Somos Diferentes'' – Columbia Records (catalogue # 6202-X) – as a member of the CBS Pan American Orchestra – Conductor Alfredo Antonini, Vocalist Luis G. Roldan (194?)<ref name="frontera.library.ucla.edu">{{cite web|url=http://frontera.library.ucla.edu/recordings/asi-2|title=Asi – Frontera Project|website=Frontera.library.ucla.edu|access-date=26 November 2018}}</ref><ref name="autogenerated1">{{cite web|url=http://frontera.library.ucla.edu/recordings/somos-diferentes-1|title=Somos Diferentes – Frontera Project |website=Frontera.library.ucla.edu |access-date=26 November 2018 }}</ref>List of songs: ''Asi'' – María Grever, ''Somos Diferentes'' – Pablo Beltran Ruiz
* ''La Palma'' and ''Rosa Negra'' – Pilotone Records (catalogue # 5067 & # 5069) – as a member of Alfredo Antonini's Viva America Orchestra, Vocalists Los Panchos Trio (194?)<ref name="auto2">{{cite web |url=https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 |title=La Palma; Rosa Negra |last1=Los Panchos Trio|last2=Alfredo Antonini and His Viva America Orchestra|access-date=26 November 2018 |website=Archive.org}}</ref>List of songs: ''La Palma'' (Chilian cueca dance), ''Rosa Negra'' (Conga)
* ''El Bigote de Tomas'' and ''De Donde'' – Columbia Records (Catalogue # 36666) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4">{{cite web|url=https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 |title=Viva Sevilla!; Noche de Amor; Mi Sarape; Que Paso?; El Bigote de Tomas; De Donde? |last1=Juan Arvizu and the C. B. S. Tipica Orchestra |last2=Lavidada |last3=DelMoral |last4=Alfredo Antonini |last5=Juan Arvizu |last6=Grever |last7=Juan Arvicu and the C. B. S. Tipica Orchestra |last8=Cortazar |last9=Juan Arvizu and the C. B. S Tipica Orchestra |last10=Valie|date=28 January 1942|access-date=26 November 2018 |website=Archive.org }}</ref> List of musical selections: ''El Bigote de Tomas'' – Valie, ''De Donde'' – María Grever
* ''Mi Sarape'' and ''Que Paso?'' – Columbia Records (catalogue # 36665) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4"/>List of musical selections: ''Mi Sarape'' – María Grever, ''Que Paso?'' – Cortazar
* ''Viva Sevilla!'' and ''Noche de Amor'' – Columbia records (catalogue # 36664) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4"/> Musical selections: ''Viva Sevilla!'' – Lavidad/Delmoral, ''Noche de Amor'' – Tchaikovsky arr.Arvizu/Antonini
{{external media|width=200px |audio1= You may hear John Serry and the Shep Fields Orchestra performing "With A Smile and A Song" in 1937 [https://adp.library.ucsb.edu/index.php/matrix/detail/200030366/BS-017487-With_a_smile_and_a_song '''Here on DAHR''']|audio2= You may hear John Serry and the Shep Fields Orchestra performing the fox trot "There's a New Moon Over the Old Mill" in 1937 [https://adp.library.ucsb.edu/index.php/matrix/detail/200030370/BS-017491-Theres_a_new_moon_over_the_old_mill '''Here on DAHR'''] |audio3= You may hear John Serry performing "Whistle While You Work" with the Shep Fields Orchestra in 1937 [https://adp.library.ucsb.edu/index.php/matrix/detail/200030367/BS-017488-Whistle_while_you_work '''Here on DAHR'''] |audio4=You may hear John Serry and the Shep Fields Orchestra performing "In the Merry Month of May" [https://adp.library.ucsb.edu/index.php/matrix/detail/200032378/BS-023253-In_the_merry_month_of_May '''Here on DAHR'''] }}
* ''Shep Fields and His Rippling Rhythm Orchestra'' – Bluebird Records – as the accordionist (1938)<ref name="Rust1975"/><ref name="ReferenceG">[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John John Serry's audio recordings with the Shep Fields Rippling Rhythm Orchestra on Discography of American Historical Recordings]</ref><ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200033326/PBS-026255-An_old_curiosity_shop Audio recording with the Shep Fields Orchestra – "An Old Curiosity Shop" (1938) on the Discography of American Historical Records adp.library.ucsb.edu]</ref>List of recordings 1938: ''A Stranger in Paree'' (#B-7566), ''I Wanna Go Back to Bali'' (B#7566) – [[Harry Warren]]/[[Al Dubin]], ''Cathedral in the Pines'' (#B-7553) – [[Charles Kenny]]/Nick Kenney, ''Somewhere with Somebody Else'' (#B-7555), ''That Feeling Is Gone'' (#B-7555), ''Good Evenin', Good Lookin'' (#B-7553), ''My Walking Stick'' (#B-7592), ''Havin' Myself a Time'' (#B-7581) – [[Ralph Rainger]]/Leo Robin, ''Fare Thee Well, Annie Laurie'' (#B-7581), ''This Time It's Real'' (#B-7579), ''If It Rains – Who Cares?'' (#B-7579), ''[[Now It Can Be Told]]'' (#B-7592) – [[Irving Berlin]], ''I've Got a Pocketful of Dreams'' (#B-7581), ''In Any Language'' (#B-7604), ''Where in the World'' (#B-7604), ''[[Any Little Girl, That's a Nice Little Girl, Is the Right Little Girl for Me]]'' (#B-7606) – Thomas J. Gray/[[Fred Fisher]], ''[[The Fountain in the Park|In the Merry Month of May]]'' (#B-7606) – Ed Haley, ''Don't Let That Moon Get Away'' (#B-7697) – [[Johnny Burke (lyricist)]]/[[James V. Monaco]], ''An Old Curiosity Shop'' (#B-10056) – [[Sam Coslow]], [[Guy Wood]], [[Abner Silver]]
*''Shep Fields and His Rippling Rhythm Orchestra'' – Bluebird Records – as the accordionist (1937)<ref name="Rust1975"/><ref name="ReferenceG"/>List of recordings 1937: ''[[With a Smile and a Song (song)|With a Smile and a Song]]'' (#B-7343) – [[Frank Churchill]]/[[Larry Morey]], ''[[Whistle While You Work]]'' (#B-7343) – [[Frank Churchill]]/[[Larry Morey]], ''It's Wonderful'' (#B-7333), ''I'm the One Who Loves You'' (#B-7333), ''There's a New Moon Over the Old Mill'' (#B-7355) – [[Allie Wrubel]]/[[Herb Magidson]], ''Goodnight, Angel'' (#B-7355) [[Allie Wrubel]]/[[Herb Magidson]], ''Bob White (Whatcha Gonna Swing Tonight?)'' (#B-7345) – [[Bernard Hanighen]]/[[Johnny Mercer]]
* ''Chicago Musette-John Serry and His Accordion'' – Versailles (catalogue # 90 M 178) released in France (1958)<ref name="catalogue.bnf.fr"/><ref name="auto3"/> List of musical arrangements: ''Rock and Roll Polka'' – [[Mort Lindsey]]/George Skinner, ''[[My Heart Cries for You]]''- [[Percy Faith]]/[[Carl Sigman]], ''[[Secret Love (Doris Day song)|Secret Love]]'' -[[Paul Francis Webster|Paul Webster]]/[[Sammy Fain]], ''[[Granada (song)|Granada]]'' – [[Agustín Lara]]

== Filmography ==
* ''[[The Big Broadcast of 1938]]'' (1938) – as himself, performing with the Shep Fields Orchestra.<ref>{{cite book|title=The big broadcast of 1938|date=26 November 2018|oclc = 934654999}}</ref>

== Invention ==
Serry was granted a patent in 1966 by the [[United States Patent Office]] for his design of a protective shield for collapsible toothpaste tubes (US Patent #US3269604).<ref>''Protective Shield For Collapsible Paste Tubes #US 3269604 A'' Inventor John Serry [https://patents.google.com/patent/US3269604 as listed on Google.com/patents]</ref><ref>[https://books.google.com/books?id=AHobAQAAMAAJ&dq=John+Serry&pg=PA1973 "Official Gazette: United States Patent Office" : # 3,269,604 -''Protective Shield For Collapsible Paste Tubes filed by John Serry'', August 30, 1966, p. 1973 on google.com/books]</ref> A patent for the same design was also granted to him by the [[Canadian Intellectual Property Office|Canadian Patent Office]] in 1966 (Serial #998,449 May 14, 1966).<ref>[https://books.google.com/books?id=2LdQAAAAYAAJ&q=%22+John+Serry+%22 ''Canadian Patent Office Record'' 1967 Vol 95, p. 7659 -"Protective Shield for Collapsible Paste Tubes...John Serry, USA...May 1966 Serial # 980,449 on Google Books]</ref>

== Publications ==
* {{Citation|last=Serry|first=John|title=The Danzon, The Bolero, The Rumba – The Substitute American Rhythm Emphasis Laid on Going Native|magazine=Accordion News|date= 1935}}<ref name="ReferenceH">[https://books.google.com/books?id=63LFkLKKPxIC&q=John%20Serry Accordion News & John Serry on Google Books]</ref>
* {{Citation|last=Serry|first=John|title=Training: Reading From Piano Scores. Stumbling Cues. Avoid Time Wasters|magazine=Accordion News|date=1935}}<ref name="ReferenceH"/>
* {{Citation|last=Serry|first=John|title=Chorus|magazine=Accordion News|date=1936}}<ref>[https://books.google.com/books?id=LJ5peQ2vYrgC&q=John%20Serry Accordion News & John Serry on Google Books]</ref>
* {{Citation|last=Serry|first=John|title=Accordions & Orchestras: Past Present & Future|magazine=Accordion World|date=November 1937}}.
* {{Citation|last=Serry|first=John|title=Those Neglected Basses|magazine=Accordion World|date=March 1939}}.
* {{Citation|last=Serry|first=John|title=What's Wrong With The Accordion|magazine=Accordion World|date=1947}}.<ref name=Jacobson2007/>
* {{Citation|last=Serry|first=John|title=Jazz And The Student Accordionist|magazine=Accordion World|year=1961}}.<ref>[https://books.google.com/books?id=junZxW_-MIkC&q=John+Serry+Accordion+World Accordion World Vol. 26 No. 1, April 1961, p. 2 "Jazz and the Student Accordionist" by John Serry on Google Books]</ref>
* {{Citation|last=Serrapica|first=John|title=The Syncopated Accordionist|year=1952|publisher=Charles Colin}}.<ref name="loc.gov"/>

== Archived works ==
{{external media|float=right|width=100px|image1=The John J. Serry Sr. Collection Archive [[University of Rochester]] [[Eastman School of Music]]. [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf '''Here on esm.rochester.edu''']}}
* ''The John J. Serry Sr. Collection'' at the [[Eastman School of Music]]'s [[Sibley Music Library]] within the Ruth T. Watanabe Special Collections Department contains selected examples of Serry's original compositional scores, arrangements, LP recordings, reel to reel recording tapes of his performances, biographical articles and other biographical reference materials which have been donated for archival purposes to benefit both researchers and students. The archive includes a copy of his album ''[[Squeeze Play (album)|Squeeze Play]]'' and an audio recording of his arrangements for ''[[RCA Thesaurus]]''. Researchers may contact the staff archivist directly for further assistance in obtaining copies of scores or reviewing LP recordings.<ref name="ReferenceF"/><ref name="River Campus 1980"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection archived at the Eastman School of Music on esm.rochester.edu]</ref>

* The [[Discography of American Historical Recordings]] catalog at the University of California at Santa Barbara includes several of the master recordings of Serry's performances with the Shep Fields Rippling Rhythm Jazz Orchestra in New York City (1937-1938) which are accessible online via audio streaming.<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John Discograph of American Historical Recordings – University of California Santa Barbara: Audio recordings of John Serry in the Shep Fields Rippling Rhythm Orchestra]</ref>

== Professional affiliations ==
Serry was an active member of the [[Broadcast Music Incorporated|BMI]], [[SESAC]], [[American Federation of Musicians]] (Local #802) (1933–2003),<ref>{{cite web|url=http://www.local802afm.org/2004/01/REQUIEM-53/|title=Requiem – Associated Musicians of Greater New York – Local 802|website=Associated Musicians of Greater New York – Local 802|date=January 2004 |access-date=26 November 2018}}</ref><ref name="Serrapica p. 398"/> and The [[American Guild of Organists]]. For a brief period he served as a charter member of the [[American Accordionists Association]] (1938). He pursued professional musical studies with: Joseph Rossi (accordion, 1926–1929); Albert Rizzi (piano and harmony, 1929–1932); Gene Von Hallberg (counterpoint and harmony, 1933–1934)<ref name="article10"/> (a founder of the [[American Accordionists Association]]); Jascha Zade (piano, 1945–1946);<ref name="article10"/> Arthur Guttow (organ, 1946), and Robert Strassburg (piano, advanced harmony, and orchestration, 1948–1950).

== See also ==
[[Accordion music genres]] 
[[Bolero]] 
[[Easy listening]] 
[[Secular Jewish music]] 
[[Wedding music]]
{{Portal bar|Biography|Music|Latin music|Classical music|Jazz}}

== References ==
{{reflist}}

== External links ==
* [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection at the Eastman School of Music – archive of scores, compositions, arrangements and recordings by John Serry at the University of Rochester's Eastman School of Music – Sibley Music Library- Ruth T. Watanabe Special Collections]
* [http://gallica.bnf.fr/ark:/12148/bpt6k88198701?rk=21459;2 ''Chicago Musette – John Serry et son Accordeon'' – sound recording of Serry performing "Granada" by Agustin Lara on BnF Gallica.bnf.fr {{in lang|fr}}]
* [http://frontera.library.ucla.edu/frontera-search?keywords=Orquesta+Pan+Americana+CBS ''Asi'', ''Esta Noche Ha Pasado'', ''Somos Differentes'', and ''Tres Palabras'' – Sound recordings of John Serry Sr. performing as accordionist in the Orquesta Pan Americana with Alfredo Antonini conducting with vocalist Luis G. Roldan at the University of California Los Angeles on fronter.library.ucla.edu]
* [http://catalog.nypl.org/search/o747952344 ''It's a Grand Night for Singing'' – CBS radio program excerpt from Program of the Three Americas -Viva America Orchestra sound recording at the New York City Public Library Online Catalog at catalog.nypl.org]
* [https://catalog.loc.gov/vwebv/holdingsInfo?searchId=9754&recCount=25&recPointer=0&bibId=12137206 ''Latin American Music'' – Viva America Orchestra 78 RPM sound recordings at The Library of Congress Online Catalog at catalog.loc.gov]
* [https://www.archives.gov/research/guide-fed-records/groups/229.html#229.6.2 Copies of selected radio broadcasts by the Office of the Coordinator of Inter-American Affairs – Radio Division as archived at the United States National Archive www.archives.gov]
* [https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John Discography of American Historical Recordings: University of California Santa Barbara – Audio recordings online of John Serry and the Shep Fields Rippling Rhythm Orchestra 1937 – 1938]
* [https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John Discography of American Historical Recordings: University of California Santa Barbara – Audio recordings online of John Serrapica (aka John Serry) and the Charles Magnante Accordion Band 1941]
* [https://www.worldcat.org/search?q=John+Serry+accordionist ''The Syncopated Accordionist'', ''Rhythm-Airs'', ''The Bugle Polka'', ''Consolation Waltz'' – Musical scores by John Serry on WorldCat.org]
* [https://www.worldcat.org/title/945114698 ''Fantasy In F'' – Musical score by John Serry on WorldCat.org]
* [https://www.worldcat.org/title/945114662?oclcNum=945114662 ''Glissando'' – Musical score by John Serry on worldCat.org]
*[https://www.worldcat.org/title/945114625?oclcNum=945114625 ''Tarantella'' – Musical score by John Serry on WorldCat.org]

{{Authority control}}

{{DEFAULTSORT:Serry, John Sr.}}
[[Category:1915 births]]
[[Category:2003 deaths]]
[[Category:Musicians from Brooklyn]]
[[Category:People from Brookville, New York]]
[[Category:Classical musicians from New York (state)]]
[[Category:Jazz musicians from New York (state)]]
[[Category:20th-century accordionists]]
[[Category:20th-century American composers]]
[[Category:20th-century American male musicians]]
[[Category:20th-century classical composers]]
[[Category:20th-century jazz composers]]
[[Category:20th-century organists]]
[[Category:American classical accordionists]]
[[Category:American classical composers]]
[[Category:American classical organists]]
[[Category:American jazz accordionists]]
[[Category:American jazz composers]]
[[Category:American male classical composers]]
[[Category:American music arrangers]]
[[Category:American people of Italian descent]]
[[Category:Dot Records artists]]
[[Category:Jazz-influenced classical composers]]
[[Category:American male jazz composers]]
[[Category:American male classical organists]]

The Fountain in the Park

2024-10-15T22:36:42Z

160.72.80.178: /* Apollo 17 */''Repaired External Media link''~~~~NHPL

[[Image:"The Fountain in the Park" (sheet music cover).jpg|thumb|250px|right|''The Fountain in the Park'' sheet music cover.]]
"'''The Fountain in the Park'''", also known as "'''While Strolling Through''' (or '''Thru'''') '''the Park One Day'''", is a song by Ed Haley, a member of the vaudeville act the Haley Brothers.<ref>{{Cite book| publisher = New York : Da Capo Press| isbn = 978-0-306-79564-0| last = Spaeth| first = Sigmund Gottfried|authorlink=Sigmund Spaeth| title = Read 'em and weep : the songs you forgot to remember| access-date = 2021-03-01| date = 1979| url = https://archive.org/details/reademweepsongsy0000spae|pages=106–107}}. Not to be confused with the blind fiddler and composer, [[Ed Haley]] (1885-1951)</ref> Some authors believe the song was written by [[Robert A. Keiser]], to whom Haley dedicated the song.<ref>{{Cite book|publisher=[[Century House (publisher)|Century House]]| location = Watkins Glen, N.Y.| last = Marcuse| first = Maxwell F.| title = Tin Pan Alley in gaslight;a saga of the songs that made the gray nineties "gay."| date = 1959|page = 60| hdl = 2027/uc1.31822013278122|url=https://hdl.handle.net/2027/uc1.31822013278122}}</ref><ref>{{Cite book| location = New York |publisher = Haworth Press| isbn = 978-0-7890-0150-4| last = Studwell| first = William E. (William Emmett)| authorlink= William Studwell|title = The Americana song reader| access-date = 2021-03-01| date = 1997| url = https://archive.org/details/americanasongrea0000stud|page=122}}</ref> The song was published in 1884 by Willis Woodward & Co. of New York, but dates from about 1880.<ref>{{Cite book| publisher = Oxford University Press| isbn = 978-0-19-816657-3| last = Kilgarriff| first = Michael|authorlink=Michael Kilgarriff| title = Sing us one of the old songs: a guide to popular song 1860-1920| location = Oxford| date = 1998|page=102}}</ref> It is best known for the lyric "While strolling through the park one day, in the merry merry month of May," and has been featured in numerous films, including ''[[Strike Up the Band (film)|Strike Up the Band]]'' (1940), in which it was sung by [[Judy Garland]].

As early as 1938, [[Shep Fields]] and his Rippling Rhythm Orchestra recorded the song as a Swing Jazz fox trot entitled ''In the Merry Month of May'' for [[Bluebird Records]] (#B-7606, 1938) featuring the young concert accordionist [[John Serry Sr.]]<ref>{{Cite book| publisher = Arlington House| isbn = 978-0-87000-248-9| last = Rust| first = Brian| title = The American Dance Band Discography 1917-1942: Irving Aaronson to Arthur Lange| date = 1975|page=517}}</ref><ref>[https://archive.org/details/78_in-the-merry-month-of-may_shep-fields-and-his-rippling-rhythm-orchestra-shep-fields_gbia0041833b/In+the+Merry+Month+of+May+-+Shep+Fields+and+his+Rippling+Rhythm+Orchestra.flac "In the Merry Month of May" recorded by Shep Fields and his Rippling Rhythm Orchestra on archive.org]</ref>

[[Bing Crosby]] included the song in a medley on his album ''[[101 Gang Songs]]'' (1961)
[[File:Ap17 strolling.ogv|thumb|Astronauts [[Eugene Cernan]] and [[Harrison Schmitt]] singing "The Fountain in the Park" on the Moon during the [[Apollo 17]] mission]]

==Apollo 17==
A few bars of "The Fountain in the Park" were sung on the [[Moon]] by [[NASA]] Astronauts [[Harrison Schmitt]] and [[Eugene Cernan]] on the [[Apollo 17]] mission. Schmitt started by singing "I was strolling on the Moon one day..." when Cernan joined in. Cernan kept with the original "merry month of May", however, while Schmitt sang "December", which was the actual date at the time. After a brief debate, Schmitt resumed, singing "When much to my surprise, a pair of bonny eyes..." before humming the notes instead. Moments later, [[Capsule Communicator]] [[Robert A. Parker]] cut in from [[Mission Control Center#.22Old.22 Control Center|Houston]], saying "sorry about that, guys, but today may be December."<ref>{{cite web |title=Traverse to Station 1 |url=https://www.hq.nasa.gov/alsj/a17/a17.trvsta1.html |publisher=NASA |access-date=30 May 2019}}</ref>

{{ external media | width = 250px | audio1 = You may hear the tune "In the Merry Month of May" performed by the [[Shep Fields]] Rippling Rhythm Orchestra with the accordionist [[John Serry Sr.]] in 1938 [https://adp.library.ucsb.edu/index.php/matrix/detail/200032378/BS-023253-In_the_merry_month_of_May'''Here on DAHR''']}}

==Film==
*''[[The Hollywood Revue of 1929]]'' (1929)
*''[[Caught Plastered]]'' (1931)
*''[[The House on 56th Street]]'' (1933)
*''[[This Is My Affair]]'' (1937)
*''[[Idiot's Delight (film)|Idiot's Delight]]'' (1939)
*''[[The Ice Follies of 1939]]'' (1939)
*''[[Strike Up the Band (film)|Strike Up the Band]]'' (1940)
*''[[The Strawberry Blonde]]'' (1941)
*''[[Unexpected Uncle]]'' (1941)
*''[[Yankee Doodle Dandy]]'' (1942)
*''[[Gentleman Jim (film)|Gentleman Jim]]'' (1942)
*’’Strolling Thru the Park’’ (short with three couples dancing to the tune) (1943)
*''[[Heaven Can Wait (1943 film)|Heaven Can Wait]]'' (1943)
*''[[Show Business (1944 film)|Show Business]]'' (1944)
*''[[Lake Placid Serenade]]'' (1944)
*''[[I Wonder Who's Kissing Her Now (film)|I Wonder Who's Kissing Her Now]]'' (1947)
*''[[April Showers (1948 film)|April Showers]]'' (1948)
*''[[Mr. Belvedere Rings the Bell]]'' (1951)
*''[[Million Dollar Mermaid]]'' (1952)
*''[[The FBI Story]]'' (1959)
*''[[Arabesque (1966 film)|Arabesque]]'' (1966)
*''[[Oh! What a Lovely War]]'' (1969)

==TV and Animation==
*[[Mickey Mouse]] short ''[[The Nifty Nineties]]''
*[[Tom and Jerry]] short ''[[Baby Puss (1943 film)|Baby Puss]]''
*[[Bugs Bunny]] shorts ''[[Elmer's Pet Rabbit]]'', and ''[[Bushy Hare]]''
*[[Pepé Le Pew]] shorts ''[[Scentimental Romeo]]'' and ''[[Heaven Scent]]''
*''[[I Love Lucy]]'' episode ''Pioneer Women''.
*''[[The Simpsons]]'' episodes "[[Treehouse of Horror III]]" and "[[Brother's Little Helper]]"
*''[[Shining Time Station]]'' episode "Schemer's Robot"
*''[[The Magic School Bus (TV series)|The Magic School Bus]]'' episodes "Inside Ralphie" and "Goes to Seed"
*''[[The Real Ghostbusters]]'' episode "Very Beast Friends"
* [[Alvin and the Chipmunks]] covered the song for their 1962 album ''[[The Chipmunk Songbook]]''
*''[[Top Cat]]'' episode "The Missing Heir"
*''[[The Flintstones]]'' episode "The Hot Piano"
*''[[The Honeymooners]]'' episode "Life Upon the Wicked Stage"
*Used as background music in the ''[[Animaniacs]]'' episode "Potty Emergency"
*''[[Sabrina: The Animated Series]]'' episode "Xabrina: Warrior Princess"
*Used instrumentally as a [[leitmotif]] whenever the eccentric old gentleman would unexpectedly appear in the ''[[Merrie Melodies]]'' short ''[[The Dover Boys]]'' (1942)
*Cassie in ''[[Dragon Tales]]'' from the episode "I Believe in Me" (from the first half of "I Believe in Me/Bye-Bye Baby Birdie") which was on Season 2 (though she calls it ''While Strolling Dragon Land One Day''; which is sung to the tune of this song) (2001)
*[[Kermit the Frog]] in ''[[Muppets Tonight]]'' (Episode 203: [[Heather Locklear]])

==References==
{{Reflist}}

==External links==
*[https://www.loc.gov/item/2023852542 ''The Fountain in the Park''] sheet music from the [[Library of Congress]].
*[https://ragpiano.com/lyrics/lypark.htm RagPiano by Bill Edwards] featuring background information on (and an audio recording of) ''The Fountain in the Park''.
*{{IMDb name|1339039|Ed Haley}}

{{Authority control}}

{{DEFAULTSORT:Fountain In The Park}}
[[Category:1884 songs]]
[[Category:Songs about nostalgia]]
[[Category:Music in space]]
[[Category:Articles containing video clips]]

John Serry Sr.

2024-10-15T22:30:20Z

160.72.80.178: /* Discography */''Repaired External Media Box links''~~~~NHPL

{{short description|American concert accordionist, arranger, and composer}}
{{About|the classical music accordionist and organist|the jazz pianist and composer|John Serry Jr.|the American electronic music composer|Jonn Serrie}}


{{Infobox person
| name = John Serry
| image = John-Serry-Sr.gif
| image_size =
| caption = John Serry in 1967
| birth_date = {{birth date|1915|01|29}}
| birth_place = [[Brooklyn]], United States
| death_date = {{death date and age|2003|09|14|1915|01|29}}
| death_place = [[Long Island]], United States
| restingplace =
| othername =
| occupation = Accordionist, Organist, Educator, Composer
| yearsactive = 1930-2002
| spouse =
| children =
}}

'''John Serry Sr.''' (born '''John Serrapica'''; January 29, 1915 – September 14, 2003) was an American concert accordionist, arranger, composer, organist, and educator. He performed on the [[CBS]] Radio and Television networks and contributed to [[Voice of America]]'s [[cultural diplomacy]] initiatives during the [[Golden Age of Radio]]. He also concertized on the accordion as a member of several orchestras and jazz ensembles for nearly forty years between the 1930s and 1960s.<ref>''Allegro'', American Federation of Musicians, New York, January 2004, Vol CIV, Obituary and the date of death for John Serry listed as Sept. 14, 2003 as posted by his son John Serry Jr. [http://www.local802afm.org/publication_entry.cfm?XEntry=23736371 No. 1.] {{webarchive|url=https://web.archive.org/web/20060528201555/http://www.local802afm.org/publication_entry.cfm?xEntry=23736371 |date=2006-05-28 }}</ref><ref name="auto6">{{cite web|url=https://www.archives.com/1940-census/john-serrapica-ny-65186289?FirstName=John&LastName=Serrapica&Location=NY&folderImageSeq=724|title=John Serrapica from Assembly District 16 Brooklyn in 1940 Census District 24-1722|website=Archives.com}}</ref>
{{external media|width=285px|audio1=You may hear John Serry Sr. with [[Nestor Mesta Chayres]] and the Alfredo Antonini Orchestra playing the bolero "La Morena de mi Copla" in 1946 [https://adp.library.ucsb.edu/index.php/matrix/detail/2000301762/73545-La_morena_de_mi_copla '''Here on DAHR''']}}

==Biography==
Serry's career spanned over seven decades. As a proponent of Latin American music and the [[free-bass system|free-bass accordion]], he performed as the [[piano accordion]]ist on the radio music program ''[[Viva América]]'', which was broadcast live to South America under the United States Department of State's [[Office of the Coordinator of Inter-American Affairs]]' [[cultural diplomacy]] initiative for [[Voice of America]] during [[World War II]].<ref>{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (See photograph showing Serry seated as the accordionist in the orchestra above the caption "The Latin-American artist Juan Arvizu with the CBS Pan American Orchestra conducted by Alfredo Antonini"</ref><ref>''The New York Times'', January 8, 1941, p. 18</ref><ref>''The New York Times'', January 1, 1942, p. 27</ref><ref>''The New York Times'', May 10, 1942, p. SM10</ref><ref>''The New York Times'', February 28, 1943, p. X9</ref><ref>''Time'', June 1, 1942.</ref> Broadcasts of this show have been cited as helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States in the 1940s.<ref name="auto9">Media Sound & Culture in Latin America & The Caribbean. Editors: Bronfman, Alejandra & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, 2012, p. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 Alfredo Antonini's CBS Pan American Orchestra, "Viva America" and Latin American music in the United States on Books.Google.Cmm See p. 49]</ref><ref name="auto8">{{Cite book|url=https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166|title=Dissonant Divas in Chicana Music: The Limits of la Onda|first=Deborah R.|last=Vargas|date=August 29, 2012|pages=153–157|publisher=U of Minnesota Press|via=Google Books|isbn=9780816673162}}</ref>

Serry performed with big bands, symphony orchestras, radio and television orchestras, and Broadway orchestras at the [[Radio City Music Hall]],<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry...appearing as a soloist at the Radio City Music Hall" – on archive.org]</ref>
the [[Rainbow Room]] at Rockefeller Center (1935);<ref name="article9" /> the Starlight Roof at the [[Waldorf Astoria Hotel]] (1936–1937);<ref>''Accordion News'', November, 1937.</ref><ref>''Accordion World'', March, 1946, Vol. 11 #11</ref> the [[Palmer House Hilton|Palmer House]] in Chicago (1938);<ref name="article8">''The Los Angeles Examiner'', October 9, 1938, p. 1</ref> the [[Stevens Hotel]] in Chicago (1938);<ref>[https://www.google.com/search?q=John+Serry+AFM&rlz=1C1CHBF_enUS984US989&ei=aTndY8OuEpCj5NoP7qOp4Ao&ved=0ahUKEwiDh5zq5fn8AhWQEVkFHe5RCqwQ4dUDCBA&oq=John+Serry+AFM&gs_lcp=Cgxnd3Mtd2l6LXNlcnAQDDIFCCEQoAEyBQghEKABMgUIIRCgAToICAAQogQQsAM6BQghEKsCSgUIPBIBMUoECEEYAUoECEYYAFDpCFiKDmDuHWgBcAB4AIABY4gBjQKSAQEzmAEAoAEByAEEwAEB&sclient=gws-wiz-serp#ip=1 ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry in concert at the Stevens Hotel. See the link on this page to "EmPO – World Radio History" at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref> the Biltmore Hotel in Los Angeles (1938);<ref name="article8" /> [[Carnegie Hall]] with [[Alfredo Antonini]] conducting (1946);<ref name="article5">''The New York Times'', May 12, 1946, p. 42</ref> the [[Plaza Hotel]] (1940s); [[The Town Hall (New York City)|The Town Hall]] (1941–1942);<ref name="The Nation 1942">''The Nation'', March 7, 1942, Vol. 154, #10</ref><ref name="article2">[https://query.nytimes.com/gst/abstract.html?res=9C0CE2D7113BE33BBC4953DFB5668389659EDE&legacy=true "Diseuse in Debut Here"]. ''[[The New York Times]]'', March 1, 1942, p. 36</ref><ref name="article3">''The New York Times'', May 28, 1941, p. 32</ref> the Waldorf Astoria Hotel's Wedgewood Room (1948),<ref name="google.com">[https://www.google.com/search?q=Mischa+Borr+John+Serry&sca_esv=577452161&tbm=bks&ei=eR49ZfOGKdPx0PEP-eG_yA0&ved=0ahUKEwizp5DS_ZiCAxXTODQIHfnwD9kQ4dUDCAk&uact=5&oq=Mischa+Borr+John+Serry&gs_lp=Eg1nd3Mtd2l6LWJvb2tzIhZNaXNjaGEgQm9yciBKb2huIFNlcnJ5SLYgUJYIWOYccAB4AJABAJgBhgGgAbUKqgEEMC4xMrgBA8gBAPgBAcICBRAhGKsCiAYB&sclient=gws-wiz-books "Accordion World" Gerstner Publications, 1948 Vo. 14 p. 6 John Serry accordioinst with the Mischa Borr Orcehstra at the Waldorf Astoria Hotel on Google Books]</ref> The [[Rajah Theatre]] (1953),<ref name="ArAAAAIBAJ p. 38">[https://books.google.com/books?id=ihArAAAAIBAJ&dq=%22John+Serry&pg=PA38&article_id=3456,1341936 "Current Attratcions: Theatre Timetable: Rajah Accordion Concert: featuring John Serry"] Reading Eagle, May 3, 1953 p. 38 on Books Google</ref> the [[Ed Sullivan Theater]] (1959) for CBS television; the [[Empire Theatre (41st Street)|Empire Theater (New York)]] (1953);<ref name="article12">''New York Journal-American'' (see the photograph of Serry's signature inscribed with signatures of other members of the cast on the stage door of the Empire Theatre at the closing of the play ''[[The Time of the Cuckoo]]''), May 25, 1953, p. 15</ref> and such New York [[cafe society]] nightspots as: [[El Morocco]], El Chico and The Riviera in the 1930s. During the course of these performances he appeared under the musical direction of several noted conductors including: [[Alfredo Antonini]], Mischa Borr, [[Percy Faith]], [[Shep Fields]], [[Mitch Miller]]<ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See the album cover's credits for performers including John Serry "who has worked under such eminent conductors as Alfredo Antonini, Mitch Miller and Shep Fields". Phonograph album photographed on Discogs.com]</ref> and [[Andre Kostelanetz]].<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry toured the United States with Shep Fields' Orchestra..and appeared under the direction of Andre Kostelanetz, Percy Faith and Alfredo Antonini and others" on archive.org]</ref><ref>[https://www.google.com/search?q=Mischa+Borr+John+Serry&sca_esv=577452161&tbm=bks&ei=eR49ZfOGKdPx0PEP-eG_yA0&ved=0ahUKEwizp5DS_ZiCAxXTODQIHfnwD9kQ4dUDCAk&uact=5&oq=Mischa+Borr+John+Serry&gs_lp=Eg1nd3Mtd2l6LWJvb2tzIhZNaXNjaGEgQm9yciBKb2huIFNlcnJ5SLYgUJYIWOYccAB4AJABAJgBhgGgAbUKqgEEMC4xMrgBA8gBAPgBAcICBRAhGKsCiAYB&sclient=gws-wiz-books "Accordion World" Gerstner Publications 1948 Vo. 14 p. 6 John Serry accordioinst with the Mischa Borr Orcehstra at the Waldorf Astoria Hotel on Google Books]</ref><ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See album cover for the performers' credits including: "John Serry who has worked under such eminent conductors as Alfredo Antonini, Mitch Miller and Shep Fields". Phonograph of album cover as photographed on Discogs.com]</ref>

[[File:Carnegie-hall-isaac-stern.jpg|thumb|upright=.70|left|[[Carnegie Hall]]]]
Serry was born John Serrapica in [[Brooklyn]], New York to Pasquale Serrapica and Anna Balestrieri,<ref name="auto6"/> the fourth-born of thirteen siblings.<ref>[https://www.archives.com/1940-census/john-serrapica-ny-65186289?FirstName=John&LastName=Serrapica&Location=NY&folderImageSeq=724 John Serrapica (son of Pasquale & Anna Serrapica) and his siblings: Louis, Carmela, Silvie, Ida, Nancy, Romeo, Julio, Rose, in the US Census of 1940, Kings County, NY on archives.com]</ref><ref>[https://www.archives.com/1940-census/benito-serrapica-ny-65186297?FirstName=Ben&LastName=Serrapica&Location=NY&folderImageSeq=724 Benito Serrapica (son of Pasquale & Anna Serrapica) and his siblings: Louis, John, Carmela, Silvie, Ida, Nancy, Romeo, Julio in the US Census of 1940 Kings County, NY on archives.com]</ref><ref>[https://www.archives.com/1940-census/madeline-serrapica-ny-65186298 Madeline Serrapic (daughter of Pasquale & Anna Serrapica) and her siblings: Louis, John, Carmela, Silvie, Ida, Nancy, Romeo, Julio in the US Census of 1940 Kings County, NY on archives.com]</ref><ref>[https://dp.la/item/28119e73c177c00a88569c6859f9d61e?q=Serrapica%2C+Pasquale Enrollment of Pasquale and Anna Serrapicia and their children: Vincent, Louis, Adolf, John, Carmela, Sylvia, Ida listed on lines #33-41 in the Records of the Bureau of the Census – 1920 Population – Kings County, New York, National Archives No. 91851107 in the National Archives Catalog at https://catalog.archives.gov/id/91851107]</ref> His Italian father immigrated to America from [[Gragnano]], Italy after passing through Ellis Island in 1904 and 1914.<ref>[https://heritage.statueofliberty.org/passenger-result The Statue of Liberty – Ellis Island Foundation – Passenger Search – Pasquale Serrapica on heritage.statueofliberty.org]</ref><ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. the original family name Serrapica is from Gragnano, Italy on jazz.com]</ref> The family owned a grocery store after initially moving to Navy Street in 1905,<ref>[https://books.google.com/books?id=_fGBsabZJoYC&dq=Serrapica+Grocery+Brooklyn%2C+NY&pg=PA2518 "New York Court of Appeals, Records and Briefs 1919 City of New York p. 840, Entry # 2519 – Sworn testimony under oath in 1919 by Pasquale Serrapica that he is an Italian owner of a grocery store on Navy Street in Brooklyn, NY where he has lived for fourteen years- on Books Google.com]</ref> and subsequently taking up residence on 18th Avenue in the [[Bensonhurst]] section.<ref>[https://www.archives.com/1940-census/record?UniqueId=12888151:2442:892 United States Census 1940: John Serrapica & family members residing on 18th Avenue, Brooklyn, NY on archives.com]</ref> His formal musical education included studies with the accordionist Joseph Rossi from 1926 to 1929 at the [[Pietro Deiro]] School in New York. At the age of fifeteen he performed live on the Italian radio station WCDA.<ref>{{cite news |id={{ProQuest|98745168}} |title=Today on the Radio |url=https://www.nytimes.com/1930/12/02/archives/today-on-the-radio.html |work=The New York Times |date=2 December 1930 }}</ref> By the age of nineteen, Serrapica was already enrolled as a member of the [[American Federation of Musicians]] in 1934.<ref name="Serrapica p. 398">[https://books.google.com/books?id=zvO4JsTZB8oC&q=John+Serrapica Directory and Instrumentation: Local #802 American federation of Musicians, Associated Musicians of Greater New York. Publisher: American Federation of Musicians- Local 802, New York 1934 p. 398 John Serrapica on Google.com/books]</ref> In addition, he undertook studies in piano and harmony with Albert Rizzi from 1929 to 1932 and in harmony and counterpoint with Gene Von Hallberg for two years.<ref name="article10">"Biography", ''Accordion World'', March 1946, Vol. 11, #11, p. 3</ref> Von Hallberg served as a cofounder of the [[American Accordionists Association]] in 1938.<ref>[http://www.ameraccord.com/2018graphics/AAA-Formation.htm "American Accordionists' Association" Photograph of founding members includes Gene Von Hallburg and Joe Biviano March 9, 1938 on ameraccord.com]</ref> Hallberg later appeared in the Magnante Quartet before an audience of three thousand concertgoers at Carnegie Hall in 1939 <ref>[https://www.ksanti.net/free-reed/essays/cheered.html ''The Free Reed journal'' – "1939 Magnante Concert at Carnegie Hall Part 3 -As Thousands Cherred" reprinted from ''Accordionin World'', New York, NY, May 1939. Gene Von Hallberg & the Charles Magnante Quartet: Abe Goldman &Joe Biviano at Carnegie Hall, 1939 on www.ksanti.net]</ref><ref>[https://books.google.com/books?id=eTJEAQAAIAAJ&dq=Charles+Magnante+Carnegie+Hall+1939&pg=PA84 ''The Musician'' – "Thumbnail Reviews – New York Recitals in Retrospect--Carnegie Hall -review of the Charles Magnanate Quartet with Gene Von Hallberg at Carnegie Hall, May 1939 p. 84 on Google Books]</ref> A lifelong friendship with the accordionist Louis Del Monte was established as a result of these studies. Del Monte awakened Serry's interest in Latin American music.<ref name="article10"/> Advanced studies in harmony and orchestration were completed under the instruction of the composer [[Robert Strassburg]] in the 1940s.

==Career==
=== The 1930s: The big band era ===
[[File:Rainbow room.jpg|thumb|upright=.90|right|[[Rainbow Room]] in Rockefeller Center, New York City]]
The period from 1938 to 1960 has been described as a unique period of prestige for the accordion in the United States when it attained more widespread acceptance by the public as a "serious instrument" on the concert hall stage.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Magnante+Accordion+Quartet&pg=PA50 "Squeeze This: A Cultural History of the Accordion in America". Jacobson, Marion. University of Illinois Press, 2012, p. 50-51 (Chapter Two: ''SqueezeBox Bach: The Classical Accordion'') on google.com/books]</ref><ref name=Jacobson2007>{{cite journal |last1=Jacobson |first1=Marion S. |title=Searching for Rockordion: The Changing Image of the Accordion in America |journal=American Music |date=2007 |volume=25 |issue=2 |pages=216–247 |doi=10.2307/40071656 |jstor=40071656 }}</ref> At the age of sixteen, Serrapica had already performed as a soloist on the AM radio station [[WADO|WOV]] in New York City during several live broadcasts in 1931.<ref>{{cite news |id={{ProQuest|99529553}} |title=Today on the Radio |url=https://www.nytimes.com/1931/01/06/archives/today-on-the-radio.html |work=The New York Times |date=6 January 1931 }}</ref><ref>{{cite news |id={{ProQuest|99511360}} |title=Today on the Radio |url=https://www.nytimes.com/1931/01/15/archives/today-on-the-radio.html |work=The New York Times |date=15 January 1931 }}</ref><ref>{{cite news |id={{ProQuest|99509304}} |title=Today on the Radio; OUTSTANDING EVENTS ON THE AIR TODAY |url=https://www.nytimes.com/1931/01/22/archives/today-on-the-radio-outstanding-events-on-the-air-today.html |work=The New York Times |date=22 January 1931 }}</ref> With the help of Del Monte, in the 1930s Serry continued his professional career by making appearances with the Ralph Gomez Tango Orchestra at [[The Rainbow Room]] at the RCA Building in Rockefeller Center,<ref name="article9">''Accordion News'', March, 1935</ref> leading to an extended engagement there in 1935.<ref name="article9" /> He also played with the Hugo Mariani Tango Orchestra at the Waldorf Astoria Hotel in New York <ref name="article10"/> and once again in Chicago with Frank Pruslin and Syd Fox (1936)<ref>[https://books.google.com/books?id=LJ5peQ2vYrgC&q=John+Serry+Copyright Accordion News Vols. 5-6 Louis Siquier. 1936 p. 4 "John Serry Frank Pruslin and Sy Fox with...Hugo mariani Orchestra ...at Chicago". John Serry Copyright on Google Books]</ref> and with Alfred Brito, a Cuban orchestra leader in New York (1936), and Misha Borr, conductor of the [[Waldorf-Astoria Orchestra]].<ref name="article10" /> He appeared as a soloist for society functions at the Waldorf Astoria Hotel's Waldorf Towers and at its Starlight Roof with the Lester Lanin Orchestra. In addition, he performed regularly at clubs such as [[El Morocco]], the Rainbow Room, El Chico, and the Riviera in New York City.<ref name="article9"/>

The "golden age of the accordion" continued to evolve in America from 1910 to 1960 and some piano accordionists suddenly enjoyed acceptance as performers within the best known dance bands, jazz ensembles and big band ensembles such as the [[Paul Whiteman]] orchestra.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=Paul%20Whiteman ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 p. 124 Paul Whiteman featured the accordion on Google Books.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – accordionists gain acceptance in dance bands, jazz ensembles and big bands on GoogleBooks.com]</ref> As the decade came to a close, Serry acquired a position with the jazz ensemble [[Shep Fields and His Rippling Rhythm]] during a nationwide tour which included live radio broadcasts from the Palmer House Hotel in Chicago, Illinois, and the Millennium Biltmore Hotel in Los Angeles, California, over the NBC network (1937–1938).<ref name="article8" /><ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' by John Serry: "John Serry...toured the United States with Shep Fields' Orchestra" – See the album on archive.org]</ref> These [[big band remote]] broadcasts used Zenith's Radiogran technology. In 1937, he also recorded the distinctive Shep Fields' theme song with the Shep Fields Rippling Rhythm Orchestra for [[Eli Oberstein]] on RCA Victor's Bluebird label (Victor, BS-017494, 1937).<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200030373/BS-017494-Shep_Fields_theme_song_recorded_for_Mr.Oberstein "Shep Fields Theme Song recorded for Mr. Oberstein / Shep Fields Rippling Rhythm Orchestra" – John Serry (instrumentalist accordion) on the Discography of American Historical Recordings]</ref> His performances as a member of the orchestra are also documented in the film ''[[The Big Broadcast of 1938]]'' ("This Little Ripple Had Rhythm" and "[[Thanks for the Memory]]"), which won the Academy Award for Best Original Song in 1939. While touring with Shep Fields, he also recorded several popular songs of the time for Bluebird Records, including "[[With a Smile and a Song (song)|With a Smile and a Song]]", "[[Whistle While You Work]]", and "[[Now It Can Be Told]]".<ref name="Rust1975">{{cite book |last1=Rust |first1=Brian |title=The American Dance Band Discography 1917-1942: Irving Aaronson to Arthur Lange |date=1975 |publisher=Arlington House |isbn=978-0-87000-248-9 |pages=516–517 }}</ref><ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=100000 "Discography of American Historical Recordings" – John Serry on adp.library.ucsb.edu]</ref>

At the young age of only 23 in 1938, Serry was already collaborating on stage with several noted accordionists of the early 20th century including: Andy Arcari, Anthony Mecca, Domenic Mecca, [[Pietro Deiro]] and Joe Biviano.<ref>[https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry, Andy Arcari, Anthony Mecca, Domenic Mecca, Pietro Deiro and Joe Biviano in concert at the Stevens Hotel. Google search for "John Serry AFM" and click on "EmPo- World Radio History" or See the link on this page at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref><ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=Joe%20biviano ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 p. 124 Pietro Deiro & Joe Biviano: virtuoso accordionists of the decade following the mid 1920s on Google Books.com]</ref> The six accordionists joined forces at the north ballroom of the legendary [[Stevens Hotel]] in Chicago for an "Accordion Jamfest" before an audience of over 1000 concertgoers in September 1938.<ref>[https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry, Andy Arcari, Anthony Mecca, Domenic Mecca, Pietro Deiro and Joe Biviano in concert at the Stevens Hotel. Google search for "John Serry AFM" and click on "EmPo- World Radio History" or See the link on this page to at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref> The concert occurred soon after Andy Arcari's noted accordion recital at Philadelphia's Academy of Music in May 1938, where critics praise him for his brilliance.<ref>[https://content.time.com/time/subscriber/article/0,33009,882997,00.html ''Time'' – "Music: Accordionist" Andy Arcari in recital at the Philadelphia Academy of Music in May 1938 on content.time.com]</ref> In a few short months both Biviano and the Mecca brothers would appear with Charles Magnante, Gene Von Hallberg and Abe Goldman to introduce the accordion in recital for the first time to an audience of classical music concertgoers in Carnegie Hall (April, 1939).<ref>[https://books.google.com/books?id=eTJEAQAAIAAJ&dq=Charles+Magnante+Carnegie+Hall+1939&pg=PA84 ''The Musician'' – "Thumbnail Reviews – New York Recitals in Retrospect--Carnegie Hall -review of the Charles Magnanate Quartet with Gene Von Hallberg, Abe Goldman, Anthony Mecca, Domenic Mecca, Joe Biviano at Carnegie Hall, May 1939 p. 84 on Google Books]</ref><ref>[https://www.ksanti.net/free-reed/essays/cheered.html ''The Free-Reed Journal'' – "1939 Magnante Concert at Carnegie Hall: Part 3 As thousands Cheered" -Mganante, Biviano, Anthony Mecca, Domenic Mecca, Gene Von Hallberg, Abe Goldman in the first accordion recital held at Carnegie Hall on 4/18/1939 on ksanti.net/free-reed/essays/cheered.html]</ref><ref>{{cite book | last=Jacobson | first=Marion S. | title=Squeeze this! : a cultural history of the accordion in America | publisher=University of Illinois Press | publication-place=Urbana | date=2012 | isbn=978-0-252-03675-0 | oclc=826684860 | chapter = Squeezebox Bach-The Classical Accordion}}</ref>

=== The 1940s: The golden age of radio ===
Serry married Julia Trafficante in the 1940s and moved to [[Nassau County, New York]] on Long Island to raise a family of four children which included [[John Serry Jr.]]<ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. one of four children raised by John and Julia Serry on jazz.com]</ref> The original family name of Serrapica was anglicized by John to Serry.<ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. – the family name of Serrapica was shortened by John Serry Sr to Serry on jazz.com]</ref> He simultaneously undertook private studies with: Joscha Zade in piano (1945–1946); Arthur Guttow, an organist at the [[Radio City Music Hall]] (1946);<ref>''The New York Times'', November 18, 1945, p. 50</ref> and [[Robert Strassburg]] in Orchestration and Advanced Harmony (1948–1950). He specialized in the works of [[Gershwin]], [[Debussy]], and [[Ravel]].<ref name="article11">"Who Is Who In Music International 1958", ''Who Is Who In Music International'', Chicago, IL. Biographical File # B11719. See [[International Biographical Center]], Cambridge, England as current publisher.</ref>
[[File:Ny-town-hall.jpg|thumb|upright=.85|left|[[The Town Hall (New York City)|Town Hall]] in New York City]]
During the 1930s and 1940s many accordionists emerged as performers on American radio, the new mass entertainment medium of the time.<ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 3 Accordion performers on the radio: Charles Magnante on Google Books]</ref> Building upon his concert experiences of the 1930s, Serry entered the golden age of radio performing on the CBS radio network and assisted several concert artists in New York City including the French diseuse [[Marianne Oswald]] (aka Marianne Lorraine) in her English speaking debut of "One Woman Theatre" performing the poem ''Mr. Lincoln and His Gloves'' (by [[Carl Sandburg]]), ''Never Before'' (by [[Archibald MacLeish]]) and poems by [[Jean Cocteau]] and [[Jacques Prevert]] at Town Hall (1942).<ref>[https://archive.today/20070814110438/http://www.thenation.com/archive/detail/13485324 "Marianne Lorraine" performs at Town Hall", ''The Nation'', March 7, 1942, p. 10 on archive.ph]</ref><ref name="article2" /><ref name="DISEUSE IN DEBUT HERE">{{cite news |id={{ProQuest|106170249}} |title=DISEUSE IN DEBUT HERE; Marianne Lorraine Presents 'One Woman Theatre' at Town Hall |url=https://www.nytimes.com/1942/03/01/archives/diseuse-in-debut-here-marianne-lorraine-presents-one-woman-theatre.html |work=The New York Times |date=1 March 1942 }}</ref> The concert was hosted by the Free World Association and presented with the patronage of [[Eleanor Roosevelt]] .<ref>[https://www.google.com/search?q=Free+World+Association+Eleanor+Roosevelt+Feb.+1942&tbm=bks&ei=OwC3Y7bnGrfKytMP5fypyA8&start=10&sa=N&ved=2ahUKEwj28Kv68bD8AhU3pXIEHWV-CvkQ8NMDegQIDxAW&biw=1920&bih=937&dpr=1 ''Free World'' Vol. 2 p. 94 "The Free world Association presents Marianne Oswald...John Serry accordionist...Patroness Mrs. Franklin D. Roosevelt" – Free World Association Eleanor Roosevelt Feb. 1942 on Google Books]</ref><ref>[https://www.google.com/search?q=Free+World+Association+Marianne+Oswald+1942&biw=1034&bih=844&tbm=bks&ei=zAS3Y6_IOviEytMPod2o8A4&ved=0ahUKEwiv3oGo9rD8AhV4gnIEHaEuCu44FBDh1QMICQ&uact=5&oq=Free+World+Association+Marianne+Oswald+1942&gs_lcp=Cg1nd3Mtd2l6LWJvb2tzEANQmgdYqDpg-EJoBnAAeACAAc8DiAGTC5IBBjIxLjQtMZgBAKABAcABAQ&sclient=gws-wiz-books ''Free World'' – A Monthly Magazine devoted to Democracy, p. 94 "The Free World Association presents...Marianne Oswald...John Serry accordionist...Town Hall, February28, 1942" Free World Association Marianne Oswald 1942 on Google Books]</ref> This performance was praised in ''The Players Magazine – National Journal of Educational Dramatics'' as a "fresh experience and intriguing in its uniqueness."<ref name="ReferenceD">[https://books.google.com/books?id=3WBCAQAAIAAJ&q=John+Serry "Players Magazine: The National Journal of Educational Dramatics...Vols 18-21" --Review of "Miss Lorraine's rendition of poems...against a background of music by distinguished contemporary musicians...John Serry on the accordion" on Books Google]</ref> ''The New York Times'' described it as being skillfully presented.<ref name="Players">{{cite book|title=The Players Magazine – National Journal of Educational Dramatics |url=https://books.google.com/books?id=vsJYAAAAMAAJ |access-date=25 July 2018 |volume=18–19 |year=1941|publisher=National Collegiate Players|page=25}}</ref><ref name="DISEUSE IN DEBUT HERE"/> For ten years Serry performed as an original member of [[Alfredo Antonini]]'s CBS Pan American Orchestra (1940–1949)<ref>{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (See the photograph showing Serry seated as the accordionist in the orchestra above the caption "The Latin-American artist Juan Arvizu with the CBS Pan American Orchestra conducted by Alfredo Antonini")</ref><ref>[https://www.google.com/search?q=CBS+Pan+American+Orchestra++A+Pictorial+History+of+Radio&biw=1600&bih=789&tbm=bks&ei=2YSjY_TjJPP-9AOtlrHQBA&ved=0ahUKEwi0tIXP3Yv8AhVzP30KHS1LDEoQ4dUDCAk&uact=5&oq=CBS+Pan+American+Orchestra++A+Pictorial+History+of+Radio&gs_lcp=Cg1nd3Mtd2l6LWJvb2tzEAM6BAghEApQAFjqSWDYTGgBcAB4AIABkQGIAawakgEENi4yNJgBAKABAcABAQ&sclient=gws-wiz-books "A Pictorial History of Radio" by Irving Settel Caption for the photograph of the CBS Pan American Orchestra with Juan Arvizu conducted by Alfredo Antonini on Page 146 on Books.Google]. Accessed December 29, 2022.</ref><ref name="article4">''The New York Times'', November 5, 1983, p. 34</ref><ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' by John Serry: "John Serry...appeared under the direction of Alfredo Antonini" – See the album on archive.org]</ref> on the ''[[Viva América]]'' program for the Department of State's [[Office of Inter-American Affairs]] (OCIAA) in support of its [[cultural diplomacy]] initiatives.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Photograph of John Serry accordionist on CBS' C de Las A program circa 1940s p. 3, Series 3, Collection Box 3, Item 1: The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref>
<ref name="Viva">{{cite web |last1=Goldin |first1=J. David |title=Copyright 2018, J. David Goldin |url=http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America |website=Radiogoldindex.com |access-date=July 25, 2018 |archive-date=February 6, 2012 |archive-url=https://web.archive.org/web/20120206070142/http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America |url-status=dead }}</ref><ref name="article10" /><ref name="article4" /><ref>''The New York Times'', June 9, 1946, p. 49</ref><ref name="auto10">{{cite book|url=https://books.google.com/books?id=Qx00pQIkclMC&pg=PA166 |title=Dissonant Divas in Chicana Music: The Limits of la Onda|first=Deborah R.|last=Vargas|date=November 26, 2018|publisher=University of Minnesota Press|page=166 |access-date=November 26, 2018 |via=Google Books|isbn=9780816673162}}</ref><ref name="books.google.com">Media Sound & Culture in Latin America & The Caribbean. Editors: Bronfman, Alejandra & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, 2012, p. 49; {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 Pan-Americanism & CBS & "Viva America" on Books.Google.com See pp. 48-49]</ref> He also worked with Antonini, Nestor Mesta Chayres and members of the [[New York Philharmonic]] in the ''Night of the Americas Concert'' gala at Carnegie Hall in 1946.<ref name="article5" /><ref>{{cite web|url=https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to=|title=New York Philharmonic|access-date=December 29, 2022|website=archives.nyphil.org}}</ref>

During this period, several international concert musicians also appeared on ''Viva America'' or recorded music with Antonini's Viva America Orchestra including:<ref>[https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 CBS Pan American Orchestra, Alfredo Antonini, Terig Tucci, Juan Arvizu, Nestor Chayres, Elsa Miranda, "Viva America" on Books.Google.com See p. 49]</ref> [[Terig Tucci]] (1942)<ref name="biog"/><ref>''The New York Times'', January 18, 1942, p. 27</ref><ref name="article6">''The New York Times'', January 17, 1942, p. 30</ref><ref>''The New York Times'', January 16, 1942, p. 19</ref><ref>''The New York Times'', January 14, 1942, p. 24</ref> [[Juan Arvizu]] (1940s);<ref>''The New York Times'', May 5, 1941, p. 32</ref> [[Nestor Mesta Chayres]] (1940s);<ref>''The New York Times'', April 23, 1944, p. X5</ref> [[Eva Garza]] (1940s);<ref>''The New York Times'', January 23, 1944, p. X9</ref><ref name="auto8"/> [[Elsa Miranda]] (1940s),<ref name="Media">{{cite book |editor1-last=Bronfman |editor1-first=Alejandra |editor2-last=Wood |editor2-first=Andrew Grant |title=Media, Sound, and Culture in Latin America and the Caribbean |date=2012 |publisher=University of Pittsburgh Press |location=Pittsburgh, PA |isbn=978-0-8229-6187-1 |page=49 |url=https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49}}</ref><ref name="Banana">{{cite magazine|magazine=Billboard|title=Banana E.T. Proves Good Eating for Elsa Miranda|url=https://books.google.com/books?id=YBgEAAAAMBAJ&pg=PT3 |access-date=July 25, 2018|date=February 2, 1946|pages=3–}}</ref><ref name="Bratkovich2014">{{cite book|last=Bratkovich|first=Colin|title=Just Remember This |url=https://books.google.com/books?id=5WwBBQAAQBAJ&pg=PA173 |access-date=July 25, 2018|date=May 8, 2014|publisher=Xlibris |isbn=978-1-4836-4519-3 |page=173}}</ref> [[Los Panchos]] Trio (1946),<ref>[https://books.google.com/books?id=ql_sDwAAQBAJ&dq=CBS+Pan+American+Orchestra+Alfredo+Antonini&pg=PT74 ''Beyond the Black and White TV: Asian and Latin American Spectacle in Cold War America''. Han, Benjamin M. Rutgers University Press, 2022 "Viva America" Edmund Chester and Los Panchos on Google Books]</ref><ref>[https://books.google.com/books?id=DBoEAAAAMBAJ&dq=Los+Panchos+trio+La+Palma&pg=PT28 The Billboard – Music Popularity Charts: Alfredo Antonini and his Viva America Orchestra record album with Los Panchos Trio (Pilotone 5067) November 16, 1946, p. 29 on books.google]</ref><ref>[https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995988?adppopup=true Photograph of Los Panchos Trio and Manolita Arriola on the Viva America Show 1946 on Getty Images]</ref> and [[Manolita Arriola|Manuolita Arriola]] (1946)<ref>[https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995940?adppopup=true Photograph of Manolita Arriola and Nestor Chayres for "Viva America" 1946 CBS on Getty Images]</ref> Under the supervision of [[Edmund Chester]], these performances were beamed over CBS' Network of the Americas ("La Cadena de las Americas") across the Latin America continent to over twenty countries<ref name="Qx00pQIkclMC p. 152-155">[https://books.google.com/books?id=Qx00pQIkclMC&q=ociaa&pg=PA166 OCIAA, CBS' Cadena de las Americas, Edmund Chester, Viva America, Office of War Information & Armed Forces Radio Service ''Dissonant Divas in Chicana Music the Limits of La Onda''. Vargas, Deborah. University of Minnesota Press, Minneapolis, MN, 2012 p. 152-155 on Google Books]</ref><ref>''Time'' – Radio: La Cadena, June 1, 1942 [http://content.time.com/time/subscriber/article/0,33009,790530-1,00.html William S. Paley, Edmund Chester, La Cadena de las Americas -CBS broadcast network to South America for news and cultural programs on Content.time.com]</ref> and rebroadcast by the United States Office of War Information and the United States Armed Forces Radio Service.<ref>{{cite book |url=https://books.google.com/books?id=L3WyZ9A4_XEC&pg=PA198 |title=The Directory of the Armed Forces Radio Service Series |first=Harry|last=Mackenzie |date=26 November 1999 |publisher=Greenwood Publishing Group|page=H 21|access-date=26 November 2018 |via=Google Books|isbn=9780313308123 }}</ref><ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&q=Viva+America&pg=PA198 ''The Directory of the Armed Forces Radio Service Series'' H-21 VIVA AMERICA on Google Book]</ref><ref name="Qx00pQIkclMC p. 152-155"/> Performances by members of Antonini's CBS Pan American Orchestra on ''Viva America'' have been credited with helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States in the 1940s.<ref name="auto9"/><ref name="auto8"/>

In addition, Serry also recorded examples of music unrelated to the bolero. During the 1940s he collaborated with the Mischa Borr Orchestra and the vocalist [[Sidor Belarsky]] to record several Russian and Ukrainian folk songs for Victor records including: "[[Dark Is the Night (Soviet song)|Dark Night]]" (Victor 26–5037, 1946) by [[Nikita Bogoslovsky]],<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005388/D6FB-2220-Dark_night Victor matrix D6FB-2220 Audio recording of "Dark Night" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "Hobo Song" (aka "Mother") (Victor 26–5036, 1946) by [[Valery Zhelobinsky]],<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005403/D6FB-2221-Hobo_song Victor Matrix D6FB-2221 Audio recording of "Hobo Song" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "By the Cradle" (Victor 26–5035, 1946),<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005390/D6FB-2222-By_the_cradle Victor Matrix D6FB-2222 Audio recording of "By the Cradle" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "Katusha" (Victor 26–5035, 1946) by [[Hy Zaret]]<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005391/D6FB-2223-Katusha Katusha Victor Matrix D6FB-2223 Audio recording of "By the Cradle" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref><ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 John Serry accordionist, Sidor Belarsky vocalist & Mischa Borr Orchestra recordings listed on The University of California Santa Barbara Library's Discography of American Historical Recordings]. Accessed December 29, 2022.</ref> In 1946 he also made a guest appearance as the "outstanding accordionist of the year" on [[Gordon Macrae]]'s ''Skyline Roof'' broadcast under the direction of [[Archie Bleyer]] on the WABC-CBS network and as a guest on the ''Danny O'Neil Show''.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Item 8 audio disc p. 18 in The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 4 Recordings: Item 9 p. 18, 12" audio disk of John Serry's guest appearance on the Danny O'Neil Show in the John J. Serry Sr. Collection archived at the University of Rochester Eastman School of music on esm.rochester.edu]</ref><ref name="otrrpedia.net">{{Cite web |url=http://otrrpedia.net/getprogram1.php?item=2485 |title=Gordon MacRae Show, the |access-date=March 8, 2017 |archive-url=https://web.archive.org/web/20170309071138/http://otrrpedia.net/getprogram1.php?item=2485 |archive-date=March 9, 2017 |url-status=dead }}</ref> By 1948, he also appeared in concert with Mischa Borr's Orchestra at the Waldorf Astoria Hotel's Wedgewood Room.<ref name="google.com"/>
{{external media|float=right|width=125px|image1=Photograph of John Serry on the CBS radio network circa 1940s in the John J. Serry Sr. Collection Archive. [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf '''Here on Esm.rochester.edu''']}}

Serry recorded his work "Leone Jump" as a member of the Biviano Accordion & Rhythm Sextette with [[Tony Mottola]] on guitar and Angelo Delleria on accordion for Sonora Records in 1945.<ref name="ReferenceA">{{cite web |url=https://archive.org/details/78_swing-low-sweet-chariot_joe-biviano-his-accordion-and-rhythm-sextette-john-serry_gbia0037324|title=Leone Jump; Swing Low, Sweet Chariot; The Jazz Me Blues; Nursery Rhymes |first1=his Accordion and Rhythm Sextette|last1=Joe Biviano|last2=Tom Delaney|last3=John Serry|access-date=November 26, 2018|website=Archive.org}}</ref><ref name="auto5">{{cite web|url=https://archive.org/details/mbid-47ec1899-c909-4d5f-b38c-4920df8f57d9|title=Accordion Capers|first=his Accordion and Rhythm Sextette |last=Joe Biviano|date=November 26, 2018|access-date=26 November 2018|website=Archive.org}}</ref><ref name="hubcap.clemson.edu">{{cite web|url=http://campber.people.clemson.edu/sonora.html |title=The Sonora Label|website=Campber.people.clemson.edu|access-date=November 26, 2018}}</ref><ref name="Inc.1946">{{cite magazine |title=Record Reviews |magazine=Billboard |url=https://books.google.com/books?id=9BkEAAAAMBAJ&pg=PA124 |date=April 27, 1946|page=124 |issn=0006-2510}}</ref> The album includes performances of "[[Little Brown Jug (song)|Little Brown Jug]]", "Golden Wedding", "[[Swing Low Sweet Chariot]]", "[[That's a Plenty]]", and "The Jazz Me Blues".<ref name="web.archive.org">{{cite web |url=http://www.classicjazzguitar.com/albums/artist_album.jsp?album=747|archive-url=https://web.archive.org/web/20021107052600/http://www.classicjazzguitar.com/albums/artist_album.jsp?album=747|archive-date=2002-11-07|title=Classic Jazz Guitar – Albums |date= November 7, 2002 |access-date=November 26, 2018 }}</ref><ref name="auto5"/> His composition "Fantasy in F" was completed during this decade in 1946.<ref name="Congress Copyright Office 1946, Pg. 153">The Library of Congress Copyright Office, ''Fantasy In F (Fantasia, Accordion, F Major)'', Composer John Serry, 1946, Copyright #EP7274 [https://archive.org/stream/catalogofcopyrig413libr#page/152/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 153]</ref> The critic Henry Doktorski has described it as a "novelty piece" and likened it to [[Zez Confrey]]'s composition "Dizzy Fingers".<ref>[https://www.ksanti.net/free-reed/reviews/ktrio.html ''The Free-Reed Review''- "CD Review: The K Trio" by Henry Doktowski – "Fantasy in F" by John Serry likened to Zez Confrey's "Dizzy Fingers" on ksanti.net]</ref> In 1946 he also appeared in the "Accordion World" concert at Manhattan Center with the accordionists Angello Dellairia and Joeseph Biviano.<ref>[https://www.google.com/search?q=John+Serry+accordion&tbm=bks&ei=BhTYY5TNCser0PEPkb-UgAw&start=30&sa=N&ved=2ahUKEwiU6Ky8_e_8AhXHFTQIHZEfBcA4FBDw0wN6BAgPEBs&biw=1553&bih=789&dpr=1 ''The Music Magazine/Musical Courier'' Volumes 133-134 1946 p. 34 Acordion World Concert at Manhattan Center...Joe Biviano, Angelo Dellairia, John Serry accordionists on Google Books]</ref> Later in 1949, the accordionist Joe Biviano collaborated with the RCA Victor Accordion Orchestra to record Serry's composition "Manhattan Hop" for RCA Victor.<ref name="BNF">{{cite web |title=BnF Catalogue général |url=http://catalogue.bnf.fr/ark:/12148/cb38585245q |website=Catalogue.bnf.fr |access-date=25 July 2018 |language=fr}}</ref><ref name=Archive.org>{{cite web |url =https://archive.org/details/78_manhattan-hop_joe-biviano-rca-victor-accordion-orchestra-john-serry_gbia0250375b |title = Manhattan Hop by Joe Biviano, RCA Victor Accordion Orchestra (20-3388-B), John Serry|access-date=8 December 2021|website=Archive.org}}</ref> He also recorded several popular songs for Victor Records as a member of the noted [[Charles Magnante]] Accordion Band in 1941 including: "Clarinete Polka", '"Halli-Hallo- Halli", "Le Secret" and "Swing Me A Polka".<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John John Serry (aka John Serrapica) as a member of the Magnante Accordion Band on the University of California – Santa Barbara Library's: Discography of American Historical Recordings at adp.library.ucsb.edu]. Accessed December 29, 2022.</ref> Both Magnante and Biviano were cofounders of the American Accordionists' Association several years earlier in 1938.<ref>[http://www.ameraccord.com/2018graphics/AAA-Formation.htm "American Accordionists' Association" Photograph of founding members including Charles Magnante and Joe Biviano], March 9, 1938 on ameraccord.com</ref><ref>[https://books.google.com/books?id=0Rjn2wL0NzMC&dq=American+Accordionists+Association&pg=PA169 ''The Accordion of the Americas: Klezmer, Polka, Tango, Zydeco and More!''] Simonett, Helena. University of Illinois Press 2012 p. 169 {{ISBN|9780252037207}} Citation for Charles Magnanate and Joe Biviano identified as cofounders of the American Accordionists' Association (1939) on Google Books</ref>

By the end of the 1930s an "accordion craze" had swept the nation.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=accordion ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 pp. 124-125 Accordion craze nationwide on Google Books.com]</ref> Numerous accordion studios soon emerged within the major ethnic population centers of the East coast, as well as within the rural South and West with an estimated enrollment of over 35,000 students in 1938.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=accordion ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 pp. 124-125 Accordion craze and accordion studio enrollments soar on Google Books.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – accordion schools appear nationwide enrolling hundreds of thousands of young students on GoogleBooks.com]</ref> As an educator, Serry founded and operated a music studio in Jamaica, Queens in New York City<ref>[http://www.accordionusa.com/?d=01-Mar-2017&lang=en#art2903 "Accordion USA"- ''A Boy and His Box'' by Joe De Clemente – John Serry identified as an accordion teacher in Jamaica, Queens in 1961] on accordionusa.com</ref> and Long Island, New York.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry...devoted himself to the teaching of his chosen instrument"] on archive.org</ref> Between 1945 and the late 1980s he provided instruction on accordion, piano, and organ.<ref name="biog">{{cite magazine|magazine=Accordion World|title=Biography |place=Bedford Hills, New York|date=March 1946 |volume=11 |issue=11 |page=3}}</ref><ref name="Gliding">{{cite news |title=Auricle is Gliding with Good Reviews |url=https://www.newspapers.com/newspage/136970688/ |access-date=25 July 2018 |work=Democrat and Chronicle |date=7 July 1978 |location=Rochester, New York |page=13}}</ref> His pupils included Anthony Ettore, president of the American Accordionist's Association,<ref>{{cite web |url=http://www.aamsaccordionfestival.com/2005/ettore.html |title=2005 Honoree – Tony Ettore |access-date=2011-07-07 |url-status=dead |archive-url=https://web.archive.org/web/20110707072342/http://www.aamsaccordionfestival.com/2005/ettore.html |archive-date=2011-07-07}}</ref> Michael Torello, a composer and accordionist<ref>[https://libraries.uta.edu/search?Bquery=Michael+Torello UTA Libraries: "Montclair State College School of Fine and Performing Arts Presents The American Society of University Composers Region II Conference" – Biography of Michael Torello – "he moved... to New York City where he studied the accordion with John Serry and later joined the staff at the Serry Studio", Publisher – Montclair State College, New Jersey, 21 February 1987 p. 17 on libraries.uta.edu]</ref><ref>[https://www.newspapers.com/article/bennington-banner/53218532/ Newspapers Ancestry: "Michael Torello" Obituary, Bennington Banner, Vermont, 7 September 1994 p. 16, " Mr. Torello was an accomplished musician of the contra bass, piano and accordion.... and staff accordionist with Serry Studios in Jamaica, NY", Michael Torello on Newspapers Ancestry]</ref> and [[Robert Davine]], an accordionist and educator at the Lamont School of Music at the University of Denver<ref name="Davine">{{cite web |title=Robert Davine: 1924–2001 |url=http://www.ksanti.net/free-reed/essays/davinetribute.html |website=Ksanti.net |access-date=July 25, 2018}}</ref> as well as his son John Serry Jr.<ref>[https://jazzbluesnews.com/2018/02/07/john-serry/ ''Interview with John Serry: Can Jazz be a creative progressive art form?'' February 7, 2018 John Serry Jr. identifies his father John Serry as his first instructor on the accordion at the age of 4-11 on jazzbluesnews.com]</ref><ref>[https://democratandchronicle.newspapers.com/search/#query=John+Serry+Jr. Democrate and Chronicle July 7, 1978 p. 13 John Serry Jr. (pianist) is the son of John Serry -an instructor of piano and accordion, studies accordion at the age of four with his father on democrateandchronicle.newspapers.com]</ref> During the 1950s one of his students, Roy Appey, emerged as the first prize winner in a performance competition hosted by the American Accordionists' Association.<ref>[http://www.ameraccord.com/search.php ''American Accordionists' Association Newsletter'': "AAA Competitions in the '50s", May-June 2020 p. 13 John Serry music studio on ameraccord.com/search.php]</ref> In addition, Serry was invited to contribute to the annual series of Master Accordion Classes and seminars sponsored by the American Accordionists Association in New York City in August 2000.<ref name="Accordion">{{cite web |title=Accordion Weekly News |url=http://www.accordions.com/index/squ/en_squ_00_05_19.shtml#o |website=Accordions.com |access-date=July 25, 2018 |date=May 19, 2000}}</ref>
He also published several method books for his elementary, intermediate, and advanced grade students between 1945 and 1955.<ref name="article10" /><ref name="worldcat.org">[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=1 ''John Serry's Accordion Method Book 3 Intermediate Course'' (1955) on worldcat.org]</ref><ref name="lccn.loc.gov">{{cite book|url=http://lccn.loc.gov/unk84127828|title=LC Catalog – Item Information (Full Record) |via=lccn.loc.gov |access-date=26 November 2018}}</ref> In addition, he took note of the limitations imposed by the [[Stradella bass system]] during performances of classical music. In an effort to circumvent these limitations, he designed and developed a working model of a [[free-bass system]] for the accordion during this decade. It incorporated dual keyboards for the soloist's left hand while incorporating two sets of reeds which were tuned in octaves. This gave the soloist access to a range of tones which exceeded three and one-half octaves.<ref name="Jacobson">{{cite book |last1=Jacobson |first1=Marion |title=Squeeze This!: A Cultural History of the Accordion in America |date=2012 |publisher=University of Illinois Press |location=Urbana, IL |isbn=978-0-252-03675-0 |page=61}}</ref><ref name=Jacobson2007/>

=== The 1950s: Broadway and television ===
[[File:Shubert Theatre NYC.jpg|thumb|upright=0.85|right|[[Shubert Theatre (New York City)|Shubert Theatre]] in New York City Shubert Theatre NYC]]
During the early days of network television in the 1950s, Serry performed at CBS as a staff member of the original CBS Orchestra (1949–1960)<ref name="article11" /> and an accompanist on several live network television programs including ''The Jackie Gleason Show'' in 1953,<ref name="article11" /> ''The Frank Sinatra Show'' in the 1950s,<ref name="article11" /> and on the prime time drama ''I Remember Mama'' in 1953 starring [[Peggy Wood]].<ref>{{cite web |url=http://www.classicthemes.com/50sTVThemes/themePages/mama.html |title=Mama|website=Classicthemes.com|access-date=26 November 2018}}</ref><ref name="article11" /> Following introductions by his young son Robert, he was also featured as a soloist on the talent show ''Live Like A Millionaire'' on the NBC radio network in 1951.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music: Sibley Music Library Special Collections – John J. Serry Sr. Collection Archive: Series 4 Recordings – Item #5, p. 18 Audio Recording of John Serry and his son Robert on the show ''Live Like A Millionaire''. October 22, 1951 the John J. Serry Sr. Collection on Google.com]</ref><ref>[https://books.google.com/books?id=MQTXjvYu8ugC&dq=Live+Like+A+Millionaire+Radio+Show&pg=PA50 Radio: A Complete Guide to the Industry. Richter, William A. P. Lang Publisher. 2006 p. 50 "Radio Talent Shows: Live Like A Millionaire" ISBN 0-8204-8834-8 Live Like A Millionaire Radio Show on google Books]</ref>

In 1951 he also arranged his compositions ''La Culebra'' and ''African Bolero'' for solo flute. He dedicated the scores to his close friend [[Julius Baker]], who subsequently performed them on a demo recording.<ref>[https://search.worldcat.org/title/937406214 "African Bolero", "Desert Rhumba" Musical Scores, Composer John Serry, Dedicatee Julius Baker. See John Serry on Worldcat.org]</ref><ref>[https://search.worldcat.org/title/937406215 "La Culebra" Musical Score, Composer John Serry, Dedicatee Julius Baker. See John Serry on worldcat.org]</ref><ref>{{cite web |url=http://library.juilliard.edu/search/o937406215 |title=See hand written dedication notes "written for and dedicated to my friend Julius Baker, 1951" on Page # 3 of the score |website=Library.juilliard.edu |access-date=26 November 2018}}</ref><ref>{{cite web |url=http://library.juilliard.edu/search/o937406214 |title=See handwritten dedication notes "written for and dedicated to my friend Julius Baker, 1951" on Page # 3 of the score|website=Library.juilliard.edu|access-date=26 November 2018}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 4- Item #6 p. 18, 10" audio disc recording of "Desert Rhumba" & "The Rattlesnake" (La Culebra)" composer John Serry, flautist Julie Baker" in the John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> In the same year, his photograph was featured within an article about the accordion which was published by the journal ''International Musician'' – the official publication of the [[International Federation of Musicians]],<ref>[https://worldradiohistory.com/Archive-All-Music/International-Musician/50s/International-Musician-1951-05.pdf ''International Musician'' – "Accordion Instrument Played with A Smile", Hope Stoddard, May 1951, p. 10-11 Contributing writers Charles Nunzio & Sergei Matsusewitch – Photograph of John Serry within the article published in the journal ''International Musician'' by the American Federation of Musicians posted on worldradiohistory.com]</ref> along with photographs of such noted accordionists as: Louis Del Monte, [[Pietro Frosini]], [[Anthony Galla-Rini]], Charles Magnante, Charles Nunzio, and [[Art Van Damme]].<ref>[https://worldradiohistory.com/Archive-All-Music/International-Musician/50s/International-Musician-1951-05.pdf ''International Musician'' – "Accordion Instrument Played with A Smile", Hope Stoddard, May 1951, p. 10-11 Contributing writers Charles Nunzio & Sergei Matsusewitch – Photographs of: Louis Del Monte, Pietro Frosini, Charles Nunzio, Charles Magnante , Anthony Galla-Rini, Art Van Damme within the article as published in the journal ''International Musician'' by the American Federation of Musicians posted on worldradiohistory.com]</ref> By 1953, he was also photographed by the Bell accordion company as one of several leading accordion artists along with [[Tony Lavelli]] and Vince Geraci.<ref>[https://books.google.com/books?id=DkefSLB2nucC&q=John+J.+Serry+accordionist PTM, Piano trade Publishing Vol. 50 1953 p. 46 John J. Serry accordionist on Google books]</ref>

During this time he also performed under the musical direction of [[Andre Kostelanetz]] at CBS.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' show "John Serry...appearing under the musical direction of Andre Kostelanetz" – See the album on archive.org]</ref> As the first accordionist in the Serry Sextette, he recorded his own arrangements of several popular melodies and classical themes for the [[RCA Thesaurus]] [[electrical transcriptions]]<ref name="Kenney2003">{{cite book|author=William Howland Kenney|title=Recorded Music in American Life: The Phonograph and Popular Memory, 1890–1945|url=https://books.google.com/books?id=Cvk_AP6LwUgC&pg=PA191|date=November 2003|publisher=Oxford University Press|isbn=978-0-19-517177-8|pages=191–}}</ref> catalog in 1954 <ref>[https://www.google.com/search?tbm=bks&q=RCA+Thesaurus+John+Serry Radio Daily-Television Daily. Publisher: Radio Daily Corporation 29 October 1954, p. 8 – "RCA Thesaurus cut a session of Latin-American music, polkas, and novelties with the John Serry Accordion Quartet", RCA Thesaurus John Serry on Google Books]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/ Eastman School of Music: Sibley Music Library: Ruth T. Watanabe Special Collections Dept.- "The John Serry Sr. Collection" – Items donated to the library for archive include an audio recording by the Serry Sextette and his Bel-Cordions for RCA Thesaurus on www.esm.rochester.edu]</ref> during [[Ben Selvin]]'s tenure as [[A & R]] Manager for RCA Victor.<ref>[https://books.google.com/books?id=OUUEAAAAMBAJ&dq=Ben+Selvin+Dot+Records&pg=PA17 The Billboard: "Selvin to Quit Peer for RCA" – Ben Selvin appointed as A & R Manager for RCA Victor Custom Records Division – Thesaurus Library, February 14, 1953 p. 17 on Google Books]</ref><ref>[https://books.google.com/books?id=V0UEAAAAMBAJ&dq=Ben+Selvin+Dot+Records&pg=PA3 The Billboard: "Friends Fete Ben Selvin As He Leaves Industry" – In 1953 he started his decade with RCA Victor, March 23, 1963 p. 3 & p. 6 on Google Books]</ref>
Performances on the radio also continued during this period and included: appearances as a member of the Magnante Accordion Quartet, on ''The Lucky Strike Hour'', ''Waltz Time'', and ''The American Melody Hour (1940s)''. He occasionally substituted for the quartet's founder [[Charles Magnante]].<ref name="article10" />

On the Broadway stage he performed under director [[Harold Clurman]] in a production of [[Arthur Laurents]] play ''[[The Time of the Cuckoo]]'' with [[Shirley Booth]] and [[Dino Di Luca]].<ref name="article12" /><ref name="OxErAAAAIBAJ 2350, p. 12">[https://books.google.com/books?id=OxErAAAAIBAJ&dq=%22John+Serry&pg=PA12&article_id=2350,124787 "Celebrating National Music Week – Accordion Concert" : John Serry – p. 12...appearing with award winner Shirly Booth in "Time of the Cuckoo" See photograph and caption of John Serry in the "Reading Eagle" April 19, 1953 p. 12 on Google Books]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection – Series 3: Scrapbook – contains a clipping with a photograph from the "New York Journal American" May 25, 1953 p. 15 showing the stage cast door from the Empire Theater with Shirley Booth pointing to signatures of the cast of "The Time of the Cuckoo" which includes John Serry's signatue. The John J. Serry Sr. Collection p. 17 Series 3 Scrapbook Box 3 Item 1 archived at the University of Rochester Eastman School of Music on esm.rochester.edu]</ref>
By 1953, he had also arranged music which was edited by [[Lawrence Welk]] and utilized in a course of study for the piano accordion by the U. S. School of Music,<ref>[https://books.google.com/books?id=yDkcAQAAMAAJ&q=John+Serry "Library of Congress- Music and Phonorecords Catalog 1953", p. 881 – "U. S. School of Music" – John Serry arranger, Lawrence Welk editor on google.com/books]</ref> which was described years later as the oldest home study music school chartered by the Board of Regents in New York State with a total worldwide enrollment of over one million students.<ref>[https://books.google.com/books?id=U1TWAAAAMAAJ&dq=U.S.+School+of+Music&pg=RA1-PA739 "Statement of George R. Kemp, President U.S. School of Music" -The United States Congress Senate Committee on Post Office and Civil Service – 1962 p. 739 on Google Books]</ref> The school also utilized his photograph to encourage enrollment in its course of study for the piano accordion.<ref>[https://books.google.com/books?id=r9gDAAAAMBAJ&dq=John+Serry+Popular+Mechanics&pg=PA37 "U. S. Music School – Music Lessons...From Fine Teachers....John Serry-piano accordion" on Google Books]</ref> In the same year, he appeared as a featured soloist at an accordion concert hosted at the [[Rajah Theatre]] in Reading, Pennsylvania.<ref name="ArAAAAIBAJ p. 38"/><ref name="OxErAAAAIBAJ 2350, p. 12"/> He also completed arrangements of popular songs for [[Seeburg Corporation|Seeburg]]'s jukeboxes featuring three accordions, violins, vibes, guitar, bass, percussion and piano. Included among them were: ''[[I Get a Kick Out of You]]'', ''[[Mimi (song)|Mimi]]'', ''[[The One I Love (Belongs to Somebody Else)|The One I Love]]'', ''[[Swingin' Down the Lane]]'', and ''[[Tico-Tico no Fuba|Tico-Tico]]''.<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 4- Folder 8 p. 14 as archived at the University of Rochester Eastman School of Music]</ref>

In 1956 Serry composed, arranged and performed several compositions for [[Dot Records]] (#DLP3024)<ref>[http://bsnpubs.com/dot/dotb.html "Dot Album Discography" DLP-3024 Squeeze Play – John Serry (1956) on bsnpubs.com]</ref> with [[Al Caiola]] and [[Bernie Leighton]] on his album ''[[Squeeze Play (album)|Squeeze Play]]'' <ref name="Inc.1956">{{cite magazine |title=Dot into Pkgs |magazine=Billboard |url=https://books.google.com/books?id=XkUEAAAAMBAJ&pg=PA22 |date=8 September 1956 |pages=22– |issn=0006-2510}}</ref><ref name="BillboardSqueezePlay">[https://books.google.com/books?id=hgoEAAAAMBAJ&pg=PA22 Review of album ''Squeeze Play'', p. 22] in ''[[Billboard (magazine)|The Billboard]]'', 1 December 1956</ref> during [[Billy Vaughn]]'s tenure as music director at Dot Records.<ref>Colin Larkin, ed. (2002). The Virgin Encyclopedia of Fifties Music (Third ed.). Virgin Books. pp. 466/7. {{ISBN|1-85227-937-0}}</ref><ref>[https://www.nytimes.com/1991/09/28/obituaries/billy-vaughn-is-dead-jazz-musician-was-72.html "Billy Vaughn is Dead; Jazz Musician was 72", New York Times Obituary -"Billy Vaughn was music director for Dot Records", September 28, 1991 on Google Books]</ref><ref>[https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/vaughn-billy "Billy Vaughn" Biography on encyclopedia.com]</ref><ref>{{Gilliland |url=https://archive.today/20120805065905/http://www.library.unt.edu/music/special-collections/john-gilliland/t-z |title=T-Z – Interview Index |show=6}}</ref><ref>[http://www.grandorchestras.com/bvaughn/bvaughn_biography.html ''Biography of Billy Vaughn'' : Vaughn becomes music director of Dot Records in 1954 on grandorchestras.com]</ref> The production received a critical review as a new popular album in ''[[The Billboard (magazine)|The Billboard]]'' in 1956 and was cited for establishing a beautiful soothing mood.<ref name="ReferenceB">{{cite web|url=https://books.google.com/books?id=hgoEAAAAMBAJ&pg=PA22|title=Billboard|date=December 1, 1956|page=22|via=Google Books}}</ref> The album was also critically reviewed in ''[[Cash Box (magazine)|Cash Box]]'' magazine later that year.<ref name="worldradiohistory.com">[https://worldradiohistory.com/Archive-All-Music/Cash-Box-Magazine.htm Review of the album "Squeeze Play" in "The Cash Box" magazine – See Album Reviews column on December 8, 1956 p. 38 on americanradiohistory.com]</ref> It features his original composition ''Garden In Monaco'' which is adapted from the theme of an ancient Italian serenade.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' describe Serry's oringinal composition ''Garden In Monaco'' – See the album on archive.org]</ref><ref>[https://repertoire.bmi.com/Search/Catalog?Num=ghzHg9frLPth31%252fUPAVsUA%253d%253d&Cae=NyKQPAHJlG6xdIfufIKvLw%253d%253d&Search=%7B%22Main_Search_Text%22%3A%22Garden%20In%20Monaco%22%2C%22Sub_Search_Text%22%3Anull%2C%22Main_Search%22%3A%22Title%22%2C%22Sub_Search%22%3Anull%2C%22Search_Type%22%3A%22all%22%2C%22View_Count%22%3A20%2C%22Page_Number%22%3A0%2C%22Part_Type%22%3Anull%2C%22Part_Id%22%3Anull%2C%22Part_Id_Sub%22%3Anull%2C%22Part_Name%22%3Anull%2C%22Part_Cae%22%3Anull%2C%22Original_Search%22%3Anull%2C%22DisclaimerViewed%22%3Anull%7D&PartType=WriterList&ResetPageNumber=True&PartIdSub=YO0HedHMatLb45JzS23DVw%253d%253d "Garden in Monaco"; composer John Serry on BMI Songview catalog]</ref> Serry was applauded for establishing a wide variety of musical moods with grace, while simultaneously emphasizing a relaxed performance style.<ref name="worldradiohistory.com"/> In 1958 several songs from the album were released once again in France by Versailles records (# 90 M 178) as ''Chicago Musette – John Serry et son Accordéon''.<ref>{{cite web |url=http://www.vintagemusic.fm/release/John-Serry/ |title=Chicago Musette, John Serry |website=Vintagemusic.fm |access-date=26 November 2018 }}</ref><ref name="catalogue.bnf.fr">{{cite web |url=http://catalogue.bnf.fr/ark:/12148/cb38048510x |title=BnF Catalogue général |date=26 November 2018 |website=Catalogue.bnf.fr |access-date=26 November 2018 }}</ref><ref name="auto3">{{cite web|url=https://www.youtube.com/channel/UCKBYJZCilTiv4cvUCDLFWJQ/videos?disable_polymer=1|title=John Serry – Topic|website=YouTube|access-date=26 November 2018}}</ref> Dot Records also released several songs from the album in Japan as part of a compilation recording including the John Serry Orchestra and the Billy Vaughn Orchestra (''Ballroom in Dreamland'', Dot #5006).<ref name="discogs.com">[https://www.discogs.com/release/15138716-Various-Ballroom-In-Dreamland Album: ''Ballroom in Dreamland'' featuring music by the Billy Vaughn Orchestra and the John Serry Orchestra on discogs.com]</ref><ref>[https://www.cdandlp.com/en/various/ballroom-in-dreamland/lp/r2412382082/ ''Ballroom in Dreamland'' – Audio album featuring performances by the Billy Vaughn Orchestra and John Serry on cdandlp.com]</ref> These activities led to Serry's nomination to the "Who Is Who In Music International" in 1958.<ref name="article11" />
His advanced grade composition for accordion, ''[[American Rhapsody]]'' was completed and published during 1955.<ref name="ReferenceE">Library of Congress Copyright Office, ''American Rhapsody'', Composer: John Serry Sr., Copyright: Alpha Music, New York, New York, 1957</ref>

===The 1960s: Liturgical organ music ===
In 1960, Serry emerged as a performer in one of the first stereo recordings of an accordion orchestra on a major label for [[Coral Records]] with such noted instrumentalists as: Joe Biviano, [[Carmen Carrozza]], Angelo Di Pippo and Eugene Ettore.<ref>[https://books.google.com/books?id=oiNtRleCw6wC&q=John+Serry Music Trades: "Accordion Orchestra Featured on New Coral 12" Record" Vol. 109, 1961 p. 84 John Serry on Google Books]</ref><ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See album cover for performers credits including John Serry, Eugene Ettore, Carmen Carrozza and Angelo Di Pippo. Pietro Deiro on Discogs.com]</ref><ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref><ref>[https://www.bsnpubs.com/decca/coral/coral.html The Coral Album Discography. Edwards, David. Callahan, Mike. Eyrles, Patrice. Watts, Randy. Neely, Timothy. April 27, 2014. CRL-57323 "Pietro Deiro Presents the Accordion Orchestra" (1960) on bsnpubs.com]</ref> The ensemble of sixteen accordionists utilized modified piano accordions to recreate the orchestral sounds of several instruments while performing classical works by: Rimsky-Korsakov, [[Carl Maria von Weber]], Nicolo Paganini and Pyotr Ilyich Tchaikovsky.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref><ref>[https://search.worldcat.org/title/36735352?oclcNum=36735352 "Pietro Deiro Presents the Piano Accordion" See album cover notes. on Worldcat.org]</ref><ref>[https://www.discogs.com/release/12006299-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra Pietro Deiro, Joe Biviano The Accordion Orchestra (Coral, CRL-57323) See credits on album. Audio recording on Discogs.com]</ref> The recording was cited in ''Billboard Magazine'' for its high level of musicality.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref>

Several years later, Serry completed his ''[[Concerto For Free Bass Accordion]]'' in 1966 and subsequently transcribed it for piano in 2002.<ref name="Congress Copyright Office 1968">The library of Congress Copyright Office, ''Concerto for Bassetti Accordion'', Composer: John Serry Sr., June 4, 1968, Copyright # EP 247602</ref><ref>{{cite web|url=https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=Serry&Search%5FCode=NALL&CNT=25&PID=qtoCDJJcISkF-Y5Tnolj9EU37&SEQ=20180726172131&SID=7 |title=The Library of Congress Copyright Office – Public Catalog 1978 – Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> As the decade of the 1960s unfolded, however, the general public's interest in the accordion began to diminish in the United States while the popularity of [[rock music]] continued to grow.<ref name=Jacobson2007/><ref name="TQPXAQAAQBAJ 2013, p. 3">[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – Accordion & rock and roll on GoogleBooks.com]</ref><ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 4 Accordion and rock and roll music on Google Books]</ref> The ensuing revolution in popular music induced many young people to view the accordion as a "square relic" from their parents' generation which should be replaced by the electric guitar, electric piano and electronic organ.<ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 4 "Accordion" – the accordion is seen as a square relic and replaced by the guitar during the 1960s on GoogleBooks.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – In the late 1950s young people reject the accordion as old fashioned & take up the electric guitar, electric piano and electronic organ on GoogleBooks.com]</ref> As a result, many established accordion studios either diversified or closed down entirely.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Accordion+music+in+the+United+States+after+the+1960%27s&pg=PA67 "Squeeze This: A Cultural History of the Accordion in America". Jacobson, Marion. University of Illinois Press, 2012, p. 67 on google.com/books]</ref><ref name="TQPXAQAAQBAJ 2013, p. 3"/>
[[File:C.W. Post College, Brookville, Long Island. LOC gsc.5a29157.tif|thumb|upright=.95|left|[[C.W. Post College]], Brookville, Long Island. LOC gsc.5a29157]]

With this in mind, Serry devoted the remaining thirty-five years of his professional career to the performance of [[wedding music]] and liturgical music of the Catholic and Jewish faiths as a freelance organist at the Interfaith Chapel of [[Long Island University C W Post Campus]] in Brookville, N.Y. (1968-2002).<ref>''The New York Times'', 21 June 1964, p. 84</ref><ref>''The New York Times'', 9 June 1965, p. 47</ref><ref>''The New York Times'', 14 June 1987, p. LI22</ref><ref>''The New York Times''14 June 1987, P. New York Region</ref><ref name="Mitchell">{{cite news |url=https://www.nytimes.com/1987/06/14/nyregion/interfaith-chapels-in-demand.html? |title=Interfaith Chapels in Demand |first=Ellen |last=Mitchell |work=The New York Times |date=14 June 1987 |access-date=26 November 2018}}</ref> As more rabbis sought to unite couples of different faiths without first requiring conversions in the 1960s and 1970s,<ref>[https://books.google.com/books?id=ewdRDwAAQBAJ&dq=Interfaith+marriages+in+the+1960%27s&pg=PA22 "Beyond Chrismukkah: the Christian-Jewish Interfaith Family". Mehta, Samira K., university of North Carolina Press, 2018, p. 22 on google.com/books]</ref> he collaborated with several clergymen of both the Jewish and Catholic religious traditions including: Rabbi Nathaniel Schwartz<ref name="Mitchell"/> and the Rev. John Heinlein<ref>[https://www.nytimes.com/1984/03/18/style/no-headline-058256.html Rabbi Nathaniel Schwart officiates at the C. W. Post Interfaith Chapel]</ref><ref>[https://www.nytimes.com/1983/11/06/style/ther-ese-o-hara-and-g-a-krebs-wed.html Rabbi Nathaniel Schwartz and Rev. John Heinlein officiate at the C. W. Post Interfaith Chapel]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection: Series 3, p. 6 – Scrapbook containing musical programs as archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

During this period, he also transcribed his composition ''Processional March'' (1951) from piano for use on the organ in 1968.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Processional March (1951, Revised for Organ 1968)" Folder 18 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> In the years which followed, he composed several additional liturgical works for the choir of Notre Dame Parish on Long Island including: ''A Savior Is Born'' (1991, organ and solo voice), ''The Lord's Prayer'' (1992, organ and chorus) and ''Lamb of God'' (1994, for choir, flute and brass).<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folders: 26, 27, 28, p. 12 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

Serry died after a brief illness on [[Long Island]], New York in 2003, age 88.<ref>''Allegro'', American Federation of Musicians, New York, January 2004, Vol CIV, [http://www.local802afm.org/publication_entry.cfm?XEntry=23736371 No. 1.] {{webarchive|url=https://web.archive.org/web/20060528201555/http://www.local802afm.org/publication_entry.cfm?xEntry=23736371 |date=2006-05-28 }}</ref> 

==Performance style==
Several of John Serry's early live performances and recordings were reviewed by critics in such noted magazines as ''[[The Billboard (magazine)|The Billboard]]'', ''[[Cash Box (magazine)|Cash Box]]'' and ''The Players Magazine – National Journal of Educational Dramatics''.<ref name="ReferenceB"/><ref name="worldradiohistory.com"/><ref name="ReferenceD"/> His recording with the Biviano Accordion and Rhythm Sextette for Sonora Records in 1945 (''Accordion Capers'') was reviewed by ''Billboard'' magazine, which noted that the music on the album was strictly for listening as opposed to dancing.<ref name="Inc.1946"/> While accompanying a dramatic vocalist he was cited for contributing to an intriguing and nuanced performance.<ref>{{cite web |url=https://books.google.com/books?id=vsJYAAAAMAAJ |title=Players |date=26 November 2018 |publisher=National Collegiate Players |access-date=26 November 2018 |via=Google Books}}</ref> His recording of Latin American music with the Alfredo Antonini Viva America Orchestra was described as "as amongst the most attractive" by critics at ''The New Records'' in 1946.<ref name="auto7">The New Records. ''Latin American Music – Alfredo Antonini and Viva America orchestra'' H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, P. 6-7 [https://archive.org/stream/TNR14/The%20New%20Records%20Vol%2014#page/n77/mode/2up/search/Alfredo+Antonini ''Latin American Music – Alfredo Antonini and Viva America Orchestra'' critical review of the album in ''The New Records'' P. 6-7 on archive.org]</ref> In addition, his recording of classical compositions by Rimsky-Korsakov, Nicolo Paganini. Carl Maria von Weber and Pyotr Ilyich Tchaikovsky as a member of Pietro Deiro's Accordion Orchestra was cited by critics in ''The Billboard'' for its high level musicality.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref> His musical arrangements were also cited for using the accordion to convey a variety of musical moods with easy-going grace intended for low-pressure listening.<ref name="worldradiohistory.com"/> Above all else, he was applauded on his album ''Squeeze Play'' for utilizing the accordion to establish a beautiful, relaxed and soothing mood while avoiding a more common type of "show-off" performance.<ref name="ReferenceB"/><ref name="worldradiohistory.com"/>

==Works==
=== Compositions and arrangements ===
{{ external media|width= 200px |audio1= You may hear John Serry Sr. performing his "Leone Jump" with the Joe Biviano Accordion Rhythm Sextette and [[Tony Mottola]] in 1945 [https://archive.org/details/78_leone-jump_joe-biviano-his-accordion-and-rhythm-sextette-john-serry_gbia0071954c '''Here on Archive.org''']}}

{{colbegin}}
His compositions include:
* ''Desert Rumba'' (for accordion, 1939; publisher Antobal Music, 1951)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Desert Rumba" score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Glissando'' (for accordion, publisher Biviano Music, 1942)<ref>The Library of Congress Copyright Office, ''Glissando'', Composer John Serry, 1946, Copyright #EP8078 [https://archive.org/stream/catalogofcopyrig413libr#page/178/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 179]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Glissando" score p. 9 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Tarantella'' (for accordion, 1942; publisher Alpha Music, 1955)<ref>{{cite web|access-date=20 July 2023|title=Tarantella by John Serry archived at Oxford University, London|url=https://www.worldcat.org/title/945114625|date=1946|website=worldcat.org}}</ref>
* ''Valse'' (Composer Pytor Ilych Tchaikovsky (Opus 39 No. 8), arr. for accordion, publisher Viccas Music, 1946)<ref>{{cite web|url=http://www.theeuropeanlibrary.org/tel4/record/2000033945149?query=John+Serry|title=Valse ... Arranged by John Serry. Accordion Solo|first=Peter Ilich|last=Tchaikovsky|date=1946|website=The europeanlibrary.org|access-date=26 November 2018}}</ref><ref>{{cite web|url=https://www.worldcat.org/title/1061651613|title=Valse...arranged by John Serry. Accordion Solo|first=Peter Ilich|last=Tchaikovsky|date=1946|website=worldcat.org|access-date=20 July 2023}}</ref>
* ''Fantasy in F'' (for accordion, publisher Viccas Music, 1946)<ref>[http://www.ksanti.net/free-reed/reviews/ktrio.html "CD Review: The K Trio Images"]. ''The Free-Reed Review'', Henry Doktorski</ref><ref name="Congress Copyright Office 1946, Pg. 153"/><ref>{{cite web|access-date=20 July 2023|date=1946|title=Fantasy in F by John Serry archived at Oxford University, London|url=https://www.worldcat.org/title/945114698|website=worldcat.org}}</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Fantasy in F" score p. 9, orchestral arrangement score p. 13 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Invitation to Jive'' (for three accordions, guitar and bass, 1946)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Invitation to Jive" score p. 8 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Consolation Waltz'' (for accordion, publisher O. Pagani & Bro., 1948)<ref>The Library of Congress Copyright Office, ''Consolation Waltz'',Composer John Serry, O.Pagani & Bro., New York, 29 November 1949, Copyright # EP58852 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref>
* ''Uncle Charlie's Polka'' (for accordion, publisher O. Pagani Bro., 1948)<ref>The Library of Congress Copyright Office, ''Uncle Charlie's Polka'',Composer John Serry, O. Pagani & Bro., New York, 29 November 1949, Copyright # EP58854 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref>
* ''The Bugle Polka'' (for accordion, publisher O. Pagani Bro., 1948)<ref>The Library of Congress Copyright Office, ''Bugle Polka'',Composer John Serry, O.Pagani Bro., New York, 29 November 1949 Copyright #EP5883 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref><ref>[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=11 ''The Bugle Polka'' by John Serry (1949) on Worldcat.org]</ref>
* ''Leone Jump'' (for accordion, publisher Pietro Deiro, 1956)<ref name="web.archive.org"/><ref>{{cite web |url=http://78discography.com/Sonora.htm|title=Sonora Records 78rpm numerical listing discography |website=78discography.com |access-date=26 November 2018}}</ref><ref>The Library of Congress Copyright Office, ''Leone Jump'', Composer John Serry, 1946, Copyright # EP8079 [https://archive.org/stream/catalogofcopyrig413libr#page/354/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 355]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Leona Jump" orchestral score for 3 accordions, bass, rhythmic guitar & electric guitar p. 8 John J. Serry Collection archived at the University of Rochester]</ref>
* ''La Culebra'' (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)<ref>The Library of Congress Copyright Office,''La Culebra'', Composer John Serry Sr., March 7, 1951, Copyright # EU 233726</ref><ref>{{cite web |url=https://www.worldcat.org/identities/viaf-218300692/|title=John Serry Sr. 1915 – 2003 La Culebra |website=Worldcat.org |access-date=26 November 2018}}</ref><ref>[http://library.juilliard.edu/search~S1?/m20.1+Se685af+BakerBxC07f16/m20.1+se685af+bakerbxc07f16/-3%2C-1%2C0%2CB/frameset&FF=m20.1+se685cu+bakerbxc07f17&1%2C1%2C ''La Culebra'' – Flute solo, composer John Serry & dedicated on the score as "written for and dedicated to my friend Julius Baker, 1951" in the Julius Baker Music Collection Archive on Julicat at library.juilliard.edu]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection ""La Culebra" acore p. 8 & p. 9 score John J. Serry Collection archived at the University of Rochester]</ref>
* ''African Bolero'' (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)<ref>The Library of Congress Copyright Office, African Bolero Composer: John Serry Sr., March 7, 1951, Copyright # EU 233725</ref><ref>{{cite web |url=https://www.worldcat.org/identities/viaf-218300692/|title=John Serry Sr. 1915 – 2003 – African Bolero |website=Worldcat.org |access-date=26 November 2018}}</ref><ref>[https://www.juilliard.edu/school/library-and-archives/special-collections#peter-jay-sharp-special-collections Peter Jay Sharp Special Collections – Julius Baker Collection]</ref><ref>[http://library.juilliard.edu/search~S1?/dJulius+Baker+Music+Collection+%28Juilliard+School.+Lila+Acheson+Wallace+Library%29/djulius+baker+music+collection+juilliard+school+lila+acheson+wallace+library/-3%2C-1%2C0%2CB/frameset&FF=djulius+baker+music+collection+juilliard+school+lila+acheson+wallace+library&11%2C%2C1637 ''African Bolero''] – Flute solo, composer John Serry & dedicated on the score as "written for and dedicated to my friend [[Julius Baker]], 1951", in the Julius Baker Music Collection Archive on Julicat at library.juilliard.edu</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "African Bolero" score p. 9 John J. Serry Collection archived at the University of Rochester]</ref>
* ''The Syncopated Accordionist'' (for accordion, publisher/editor Charles Colin, 1952)<ref name="loc.gov">{{cite book|url=http://lccn.loc.gov/unk84158102|title=LC Catalog – Item Information (Full Record)|via=lccn.loc.gov|access-date=26 November 2018}}</ref><ref>The Library of Congress Copyright Office, ''The Syncopated Accordionist'', Composer John Serry a.k.a. John Serrapica, Charles Colin, New York 2 March 1953, Copyright #EP69650 [https://archive.org/stream/catalogofcopyrig375li#page/256/mode/2up/search/Serry Catalog of Copyright Entries 1953 Published Music Jan-Dec, Vol 7, Pt 5A, Pg. 257]</ref><ref>[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=11 ''The Syncopated Accordionist: Studies in Syncopation'' (1953) by John Serry on Worldcat.org]</ref>
* ''The First Ten Lessons for Accordion'' (for accordion, publisher Alpha Music, 1952)
* ''Accordion Method Books I, II, III, IV'' (for accordion, publisher Alpha Music, 1953)<ref name="worldcat.org"/><ref>[https://reverb.com/item/65777650-used-piano-accordion-music-book-john-serry-s-accordion-method-book-1-2 "Accordion Method Book 1 & 2" by John Serry on reverb.com]</ref>
* ''Rhythm-Airs for Accordion'' (editor John Serry, publisher Charles Colin & Bugs Bower, 1953)<ref>The Library of Congress Copyright Office, ''Rhythm-airs for the Accordionist'' Charles Colin & Bigs Bower, editor John Serry, Charles Colin, New York Vol. 1-2, 2 March 1953, Copyright #EP69648-69649 [https://archive.org/stream/catalogofcopyrig375li#page/58/mode/2up/search/Serry Catalog of Copyright Entries 1953 Published Music Jan-Dec Vol 7, Pt 5a, Pg. 58]</ref>
* ''La Cinquantaine'' (m. Gabriel Marie, arr. accordion quartet, publisher Alpha Music, 1954)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Accordion Quartet Arrangements" score p. 13 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Allegro'' (m. Joseph Hayden, arr. accordion quartet, publisher Alpha Music, 1954)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Accordion Quartet Arrangements" score p. 13 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Top Ten Accordion Solos – Easy to Play'' (editor: John Serrapica, publisher Alpha Music, 1954)<ref name="lccn.loc.gov"/><ref>The Library of Congress Copyright Office, ''Top Ten Accordion Solos – Easy To Play'', Publisher Broadcaste Music Inc. (BMI), Arranger John Serry, 12 July 1954, Copyright # A146305 [https://books.google.com/books?id=1RghAQAAIAAJ&pg=PA1405 Catalog of Copyright Entries Vol 8 Pt.1 Books and Pamphlets July-December 1954, p. 1405]</ref>
{{colend}}
{{colbegin}}
* ''Junior Accordion Band Series'' (arr. accordion quartet, publisher Alpha Music, 1955)<ref>[https://www.ebay.com/itm/254556663995 ''Junior Accordion Band Series'' by John Serry on ebay.com]</ref>
* ''Tango Verde'' (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Holiday in Rio'' (m. Terig Tucci, arr. accordion quartet, publisher Alpha Music, 1955)
* ''En Tu Reja'' (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Tango of Love'' (for accordion quartet, publisher Alpha Music, 1955)<ref name="auto4">{{cite web|url=http://repertoire.bmi.com/Catalog.aspx?detail=writerid&page=1&fromrow=1&torow=25&keyid=310127&subid=0 |title=BMI – Repertoire Search|website=Repertoire.bmi.com|access-date=26 November 2018}}</ref><ref name="repertoire.bmi.com">[https://repertoire.bmi.com/Search/Catalog?Num=ghzHg9frLPth31%252fUPAVsUA%253d%253d&Cae=NyKQPAHJlG6xdIfufIKvLw%253d%253d&Search=%7B%22Main_Search_Text%22%3A%22Garden%20In%20Monaco%22%2C%22Sub_Search_Text%22%3Anull%2C%22Main_Search%22%3A%22Title%22%2C%22Sub_Search%22%3Anull%2C%22Search_Type%22%3A%22all%22%2C%22View_Count%22%3A20%2C%22Page_Number%22%3A0%2C%22Part_Type%22%3Anull%2C%22Part_Id%22%3Anull%2C%22Part_Id_Sub%22%3Anull%2C%22Part_Name%22%3Anull%2C%22Part_Cae%22%3Anull%2C%22Original_Search%22%3Anull%2C%22DisclaimerViewed%22%3Anull%7D&PartType=WriterList&ResetPageNumber=True&PartIdSub=YO0HedHMatLb45JzS23DVw%253d%253d BMI-Songview Catalogue – songs by John Serry on repertoire.bmi.com]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Tango of Love" score p. 13 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Manolas'' (m. Escobar, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Petite Tango'' (for accordion quartet, publisher Alpha Music, 1955)<ref name="auto4"/><ref name="repertoire.bmi.com"/>
* ''The Lost Tango'' for accordion, Words by Edward Steinfeld, 1956)<ref>The Library of Congress Copyright Office, ''The Lost Tango'', m. John Serry, Words Edward Steinfeld, New York, New York, 14 June 1956 Copyright #EU440575 [https://archive.org/stream/catalogofcopyrig3105lib#page/134/mode/1up/search/Serry Library of Congress Catalog of Copyright Entries 1956 Unpublished Music Jan-Dec. Vol. 10, Part 5a, Pg. 134 on archive.org]</ref>
* ''Garden in Monaco'' (for accordion, publisher Alpha Music, 1956)<ref name="auto4"/><ref name="repertoire.bmi.com"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Garden in Monaco" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Rockin' the Anvil'' (for accordion, publisher Alpha Music, 1956)<ref name="auto4"/><ref name="repertoire.bmi.com"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Rockin' the Anvil" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Selected Accordion Solos'' (arr. accordion, publisher Alpha Music, 1956)
* ''Cocktails in Spain'' (for marimba, percussion, guitar, bass and organ, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Cocktails in Spain" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Spooky Polka'' (for accordion, publisher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Spooky Polka" score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Reeds in a Rush'' (for accordion, publisher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Reeds in a Rush" draft score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''American Rhapsody'' (for accordion, publisher Rumbasher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "American Rhapsody" score p. 10 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''[[I Get a Kick Out of You]]'' (m. [[Cole Porter]], arr. violins, three accordions, vibes, guitar, bass, drums, piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 4 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Mimi (song)|Mimi]]'' (m. [[Richard Rodgers]], arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 5 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[The One I Love (Belongs to Somebody Else)|The One I Love]]'' (m. Isham Jones, arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 6 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Swingin' Down the Lane]]'' (m. [[Isham Jones]], arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 7 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Tico-Tico no Fuba|Tico-Tico]]'' (m. [[Zequinha de Abreu]], arr. three accordions, guitar, bass and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder p. 14-15 archived at the University of Rochester Eastman School of Music]</ref>
* ''Processional for Organ'' (liturgical [[bridal march]] for organ, 1968)<ref name="River Campus 1980">[https://www.rochester.edu/pr/Review/V70N6/cn-u-80.html "Rochester Review" July-August 2008, Vol 70, No. 6 University of Rochester Alumnus magazine: River Campus (See Class of 1980) – Son of John Serry notes that his father's compositions and recordings have been submitted into the Sibley Library for archive]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Processional March" score p. 10 John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Falling Leaves'' (for piano, 1976)<ref>The Library of Congress Copyright Office,''Falling Leaves'', Composer: John Serry Sr., May 21, 1976, Copyright # EU 233726</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Falling Leaves" score p. 11 John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Elegy'' (for piano or organ, 1984 Rev. 1994)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Elegy" score p. 10 The John J. Serry Collection archived at the University of Rochester]</ref>
* ''Three Songs of Love'' (for voice and piano, poems by David Napolin, 1986)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Three Songs of Love" pp. 11-12 The John J. Serry Sr Collection archived at the University of Rochester]</ref>
* ''A Savior Is Born'' ([[Christmas]] liturgical for organ & voice, 1991)<ref>The Library of Congress Copyright Office, ''A Savior Is Born'', Composer: John Serry Sr., November 18, 1991, Copyright # PAU 1-575-137 [http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=9&ti=1,9&Search_Arg=Serry%20John&Search_Code=NALL&CNT=25&PID=6Ry2vjsI_BnOjbvb8nWIIpwJ9pUD7h&SEQ=20171030121559&SID=3 ''A Savior is Born'' on THe United States Copyright Office Online Catalog cocatalog.loc.gov]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "A Savior Is Born" score p. 12 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Dreams Trilogy'' (for solo piano, 1991)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Dreams Trilogy" score p. 11 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''The Lord's Prayer'' (liturgical [[Lord's Prayer]] for organ and chorus, 1992)<ref>The Library of Congress Copyright Office,'' The Lord's Prayer'', Composer: John Serry Sr., September 2, 1992, Copyright # PAU 1-665-838 [http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=8&ti=1,8&Search_Arg=Serry%20John&Search_Code=NALL&CNT=25&PID=6Ry2vjsI_BnOjbvb8nWIIpwJ9pUD7h&SEQ=20171030121559&SID=3 ''The Lord's Prayer '' on The United States Copyright Office Online Catalog cocatalog.loc.gov]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "The Lord's Prayer" score p. 12 The john Jerry Sr Collection archived at the University of Rochester]</ref>
* ''Lamb of God'' (liturgical hymn for choir, flute and bass, 1994)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Lamb of God" score p. 12 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Five Children's Pieces For Piano'' (for piano, 1996)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Five Children's Pieces For Piano" score p. 11 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
{{colend}}

=== Advanced compositions ===
Serry's compositions in the [[symphonic jazz]] and [[classical music]] genres include:<ref name="esm.rochester.edu">{{cite web |url=http://www.esm.rochester.edu/sibley/specialcollections |title=Ruth T. Watanabe Special Collections Home |website=Sibley Music Library |date=13 November 2019 |access-date=12 December 2022 }} Performers can locate the scores to "American Rhapsody" and "Concerto For Free Bass Accordion" which were donated to the [[Eastman School of Music]]'s [[Sibley Music Library]]'s – Ruth T. Watanabe Special Collections Department by contacting the archivist here.</ref><ref name="River Campus 1980"/><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection archived at the University of Rochester]</ref>

* ''[[American Rhapsody]]'' (for accordion, 1955: published by Alpha Music 1957; transcribed for piano, 2002)<ref name="ReferenceE"/><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "American Rhapsody" score Folder 12 & 19 p. 10 The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref>

* ''[[Concerto For Free Bass Accordion]]'' (for accordion, 1966; transcribed for piano, 1995–2002, unpublished, a.k.a. ''Concerto in C Major for Bassetti Accordion'')<ref name="Congress Copyright Office 1968"/><ref>{{cite web|url=https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=Serry&Search%5FCode=NALL&CNT=25&PID=qtoCDJJcISkF-Y5Tnolj9EU37&SEQ=20180726172131&SID=7 |title=The Library of Congress Copyright Office – Public Catalog 1978 – Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

== Discography ==
{{external media |width=200px |audio1= You may hear selections from the album "[[Squeeze Play (album)|Squeeze Play]]" (Dot Records,1956) [https://listenbrainz.org/artist/9ff7e10c-d72b-4948-9a2e-635b0ad19be0/ '''Here on Listenbrainz.org''']}}
* ''[[Squeeze Play (album)|Squeeze Play]]'' – Dot Records (catalogue #DLP-3024) (1956)<ref name="article11" /><ref name="BillboardSqueezePlay" /><ref>{{cite book |title=Squeeze play |date=26 November 2018 |oclc = 12935411}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection "Squeeze Play" audio recording of compositions and arrangements by John Serry in "The John J. Serry Sr. Collection" p. 19 at the Eastman School of Music on esm.rochester.edu]</ref>
* ''[[RCA Thesaurus]]''  – RCA Victor Transcriptions series of over thirty works. John Serry Sr. as a contributing arranger and soloist with The Bel-Cordions accordion Sextette ensemble and Ben Selvin – Music Director (1954).<ref name="article11" /><ref name="ReferenceF">[https://www.esm.rochester.edu/sibley/specialcollections/ Eastman School of Music: Sibley Music Library: Ruth T. Watanabe Special Collections Dept. at www.esm.rochester.edu]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "John Serry Sextette" audio recording for RCA Thesaurus of arrangements and performances by John Serry at the RCA Victor Sudios in 1954 p. 18 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
<ref>[https://www.google.com/search?tbm=bks&q=RCA+Thesaurus+John+Serry Radio Daily-Television Daily. Publisher: Radio Daily Corporation 29 October 1954, p. 8 – "RCA Thesaurus cut a session of Latin-American music, polkas, and novelties with the John Serry Accordion Quartet", RCA Thesaurus John Serry on Google Books]</ref> List of musical arrangements: ''Allegro'' – [[Joseph Haydn]], ''[[The Golden Wedding]]( La Cinquantaine)'' – [[Jean Gabriel-Marie]], ''Tango of Love'' – John Serry Sr., ''[[Shine On, Harvest Moon]]'' – [[Jack Noworth]] & [[Nora Bayes]], ''[[My Melancholy Baby]]'' – Ernie Burnett & George A. Norton, ''[[Singin' in the Rain (song)|Singin' in the Rain]]'' – [[Arthur Freed]] & [[Nacio Herb Brown]], ''[[Nobody's Sweetheart]]'' – [[Elmer Schoebel]]/[[Gus Kahn]], ''[[Chicago (That Toddlin' Town)|Chicago]]'' – [[Fred Fisher]], ''[[If You Knew Susie]]'' – [[Buddy DeSylva]] & [[Joseph Meyer (songwriter)|Joseph Meyer]], ''[[Somebody Stole My Gal]]'' – [[Leo Wood]], ''[[Ta-ra-ra Boom-de-ay]]'' – [[Paul Stanley (composer)]], ''[[Old McDonald]]'' – children's music, ''[[Beer Barrel Polka]]'' – [[Jaromir Vejvoda]]/[[Eduard Ingris]], ''I Love Louisa'' – [[Arthur Schwartz]]/[[Howard Dietz]], ''[[Oh You Beautiful Doll]]'' – Seymour Brown/ [[Nat D. Ayer]], ''[[Chinatown, My Chinatown]]'' -[[William Jerome]]/[[Jean Schwartz]] 
* ''Ballroom in Dreamland'' – Dot Records (catalogue # 5006) – a compilation album released in Japan featuring performances of Jazz, Latin and Classical music by the John Serry Orchestra and the [[Billy Vaughn]] Orchestra.<ref name="discogs.com"/>
* ''Pietro Deiro Presents the Accordion Orchestra'' – Coral Records (catalogue #CRL-57323) – as a member of an orchestra of sixteen accordionists interpreting the sounds of a traditional orchestra in performances of transcriptions from classical music under the direction of Joe Biviano.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 The Billboard- Reviews and Ratings of New albums "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 "Pietro Deiro Presents the Accordion Orchestra" Critical Review of the album on Google Books]</ref><ref>[https://search.worldcat.org/title/36735352?oclcNum=36735352 "Pietro Deiro Presents the Piano Accordion"- See the performers' credits and song listings on the record album on Worldcat.org]</ref><ref>[https://www.discogs.com/release/12006299-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra Pietro Deiro, Joe Biviano The Accordion Orchestra (Coral, CRL-57323). See the notes on the album cover. Photograph of the album on Discogs.com]</ref><ref>[https://www.bsnpubs.com/decca/coral/coral.html The Coral Album Discography. Edwards, David. Callahan, Mike. Eyrles, Patrice. Watts, Randy. Neely, Timothy. April 27, 2014. CRL-57323 "Pietro Deiro Presents the Accordion Orchestra" (1960) "The Coral Album Discography" on bsnpubs.com]</ref><ref>[https://books.google.com/books?id=oiNtRleCw6wC&q=John+Serry Music Trades: "Accordion Orchestra Featured on New Coral 12" Record" Vol. 109, 1961 p. 84 John Serry listed as a member of the accordion orchestra on the new Coral record. John Serry on Google Books]</ref>*:List of musical selections: ''Danse des Bouffons'' – [[Nikolai Rimsky-Korsakov]], ''Beguine di Roma'' – Joe Biviano, ''Invitation to the Dance'' – [[Carl Maria von Weber]], ''La Cumparsita'' – musical arrangement by Joseph Biviano, ''La Chasse'' – [[Niccolo Paganini]], ''Danse Chinoise'' – [[Pyotr Ilyich Tchaikovsky]], ''Three Blind Mice'' – musical arrangement by Joseph Biviano, ''Danse de Marlitens'' – [[Pyotr Ilyich Tchaikovsky]], ''Walse de Fleur'' – Pyotr Ilyich Tchaikovsky, ''The Flight of the Bumble Bee'' – Nikolai Rimsky-Korsakov, ''The Rooster'' – Joe Biviano, ''Careless one cha-cha-cha'' – Joe Biviano
{{ external media|width= 200px |audio1= You may hear John Serry performing "Lamento Gitano" with Nestor Mesta Chayres and the Alfredo Antonini Orchestra in 1946 [https://adp.library.ucsb.edu/index.php/matrix/detail/2000301745/73528-Lamento_gitano '''Here on DAHR''']}}
* ''Accordion Capers'' – Sonora Records (catalogue # MS 476) – as a member of the Biviano Accordion & Rhythm Sextette. (1947)<ref name="Inc.1946" /><ref>{{cite book|title=Accordion capers |date=26 November 2018 |oclc = 48679834}}</ref><ref name="web.archive.org"/>List of musical selections: ''[[Little Brown Jug (song)|Little Brown Jug]]''- [[Joseph Winner|Joseph Eastburn Winner]], ''[[The Golden Wedding]] (La Cinquantaine)'' – [[Jean Gabriel-Marie]], ''Leone Jump'' – John Serry, ''[[Swing Low, Sweet Chariot]]''- [[Wallace Willis]], ''[[That's a Plenty]]'' – [[Lew Pollack]], ''Scotch Medley'' – folk music, ''The Jazz Me Blues'' – [[Tom Delaney (songwriter)|Tom Delaney]]
* ''Latin American Music'' – Alpha Records (catalogue # 12205A, 12205B, 12206A, 12206B) – as a member of the Viva America Orchestra – Conductor Alfredo Antonini (1946)<ref>Billboard. ''Alpha's 12" Latin-Vinylites'', New York, Vol. 58 No. 13 30 March 1946, P. 22 [https://books.google.com/books?id=JBoEAAAAMBAJ&pg=PT21 Alpha Records release of Alfredo Antonini and Viva America Orchestra in Billboard on books.google.com]</ref>List of recordings: ''Caminito de tu Casa'' – [[Julio Alberto Hernández]], ''Chapinita'' – [[Miguel Sandoval (composer)|Miguel Sandoval]], ''Adios Mariquita Linda'' – Marcos A. Jimenez, ''Mi Nuevo Amor'', ''[[La Zandunga]]'' – Andres Gutierrez/Maximo Ramo Ortiz, ''La Mulata Tomasa'' – Lazaro Quintero, ''Tres Palabras'' – [[Osvaldo Farres]], ''[[Noche de ronda]]'' – [[Augustin Lara]]
* ''[[Granada (song)|Granada]]'' – Decca Records (catalogue # 23770A) – as a member of the Alfredo Antonini Orchestra with the lyric tenor [[Nestor Mesta Chayres]] (1946)<ref name="archive.org">{{cite web |url=https://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a|title=Granada|last1=Nestor Chayres |last2=Agustin Lara|last3=Alfredo Antonini|date=30 April 1946|access-date=26 November 2018|website=Archive.org}}</ref>
* ''Chiquita Banana'' – Alpha (catalogue # 1001A) – as a member of the Alfredo Antonini Orchestra, conductor Alfredo Antonini, vocalist [[Elsa Miranda]] (1946) <ref>[https://archive.org/details/78_chiquita-banana_elsa-miranda-alfredo-antonini-and-his-viva-america-orchestra-mckenz_gbia0185276a/CHIQUITA+BANANA+-+Elsa+Miranda+-+Alfredo+Antonini+and+his+Viva+America+Orchestra.flac "Chiquita Banana" performed by the Alfredo Antonini Viva America Orchestra & vocalist Elsa Miranda on archive.org]</ref>
* ''By the Cradle'' – Victor Records (catalogue # 26-5035) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: By the Cradle, John Serry accordionist on uscb.edu]</ref>
* ''Katusha'' – Victor Records (catalogue # 26-5035) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Katusha, John Serry accordionist on uscb.edu]</ref>
* ''Hobo Song'' – Victor Records (catalogue # 26-5036 ) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Hobo Song, John Serry accordionist on uscb.edu]</ref>
* ''[[Dark Is the Night (Soviet song)|Dark Night]]'' – Victor Records (catalogue # 26-5037) – accordionist in the Mischa Borr Orchestra, vocalist [[Sidor Belarsky]] (1946)<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Dark Night, John Serry accordionist on uscb.edu]</ref>
{{ external media|width= 200px |audio1= You may hear John Serrapica performing "Clarinet Polka" with the Charles Magnante Accordion Band in 1941 [https://adp.library.ucsb.edu/index.php/matrix/detail/200051914/BS-067554-Clarinet_polka '''Here on DAHR''']}}
* ''Leone Jump'' – Sonora Records (catalogue # 3001 B) – as a member of the Biviano Accordion & Rhythm Sextette. (1945)<ref name="hubcap.clemson.edu" /><ref name="web.archive.org"/><ref name="ReferenceA"/>
* ''Clarinet Polka'' – Bluebird (catalogue # B-11294-A) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200051914/BS-067554-Clarinet_polka John Serrapica as instrumentalist in the Charles Magnante Accordion Band in 1941 at the University of California Santa Barbara Library's Discography of American Historical Recordings at adp.library.ucsb.edu]</ref>
* ''Swing Me a Polka'' – Victor (matrix # BS-067555) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref name="adp.library.ucsb.edu">[https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John John Serrapica as a member of the Charles Magnante Accordion Band on the University of California Santa Barbara Library's Discography of American Historical Recordings at adp.library.ucsb.edu]</ref>
*''Le Secret'' – Victor (matrix # BS-067556) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref name="adp.library.ucsb.edu"/>
* ''Halli-Hallo-Halli'' – Victor (matrix # BS-067556) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941.<ref name="adp.library.ucsb.edu"/>
* ''Tres Palabras'' and ''Esta Noche Ha Pasado'' – Columbia Records (catalogue # 6201-X) – as a member of the CBS Pan American Orchestra – Conductor Alfredo Antionini, Vocalist Luis G. Roldan (194?)<ref name="ReferenceC">{{cite web |url=https://archive.org/details/78_tres-palabras_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-cbs-os_gbia0033510a |title=Tres Palabras |last1=Luis G. Roldan |last2=Alfredo Antonini y su Orquesta Pan-Americana C.B.S.|last3=Osvaldo Farres|access-date=26 November 2018|website=Archive.org}}</ref><ref name="archive1">{{cite web|url=https://archive.org/details/78_esta-noche-ha-pasado_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-c_gbia0033510b|title=Esta Noche Ha Pasado |last1=Luis G. Roldan |last2=Alfredo Antonini y su Orquesta Pan-Americana C.B.S.|last3=M. Sabre Marroquin|access-date=26 November 2018|website=Archive.org}}</ref>List of songs: ''Tres Palabras'' – [[Osvaldo Farres]], ''Esta Noche Ha Pasado'' – M. Sabre Marroquin
* '' Asi'' and ''Somos Diferentes'' – Columbia Records (catalogue # 6202-X) – as a member of the CBS Pan American Orchestra – Conductor Alfredo Antonini, Vocalist Luis G. Roldan (194?)<ref name="frontera.library.ucla.edu">{{cite web|url=http://frontera.library.ucla.edu/recordings/asi-2|title=Asi – Frontera Project|website=Frontera.library.ucla.edu|access-date=26 November 2018}}</ref><ref name="autogenerated1">{{cite web|url=http://frontera.library.ucla.edu/recordings/somos-diferentes-1|title=Somos Diferentes – Frontera Project |website=Frontera.library.ucla.edu |access-date=26 November 2018 }}</ref>List of songs: ''Asi'' – María Grever, ''Somos Diferentes'' – Pablo Beltran Ruiz
{{external media |width= 200px |audio1= You may hear John Serry Sr. with [[Los Panchos]] Trio and the [[Alfredo Antonini]] [[Viva America]] Orchestra performing a chilian cueca dance "La Palma" circa 1946 [https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 '''Here on Archive.org''']}}
* ''La Palma'' and ''Rosa Negra'' – Pilotone Records (catalogue # 5067 & # 5069) – as a member of Alfredo Antonini's Viva America Orchestra, Vocalists Los Panchos Trio (194?)<ref name="auto2">{{cite web |url=https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 |title=La Palma; Rosa Negra |last1=Los Panchos Trio|last2=Alfredo Antonini and His Viva America Orchestra|access-date=26 November 2018 |website=Archive.org}}</ref>List of songs: ''La Palma'' (Chilian cueca dance), ''Rosa Negra'' (Conga)
* ''El Bigote de Tomas'' and ''De Donde'' – Columbia Records (Catalogue # 36666) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4">{{cite web|url=https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 |title=Viva Sevilla!; Noche de Amor; Mi Sarape; Que Paso?; El Bigote de Tomas; De Donde? |last1=Juan Arvizu and the C. B. S. Tipica Orchestra |last2=Lavidada |last3=DelMoral |last4=Alfredo Antonini |last5=Juan Arvizu |last6=Grever |last7=Juan Arvicu and the C. B. S. Tipica Orchestra |last8=Cortazar |last9=Juan Arvizu and the C. B. S Tipica Orchestra |last10=Valie|date=28 January 1942|access-date=26 November 2018 |website=Archive.org }}</ref> List of musical selections: ''El Bigote de Tomas'' – Valie, ''De Donde'' – María Grever
* ''Mi Sarape'' and ''Que Paso?'' – Columbia Records (catalogue # 36665) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4"/>List of musical selections: ''Mi Sarape'' – María Grever, ''Que Paso?'' – Cortazar
* ''Viva Sevilla!'' and ''Noche de Amor'' – Columbia records (catalogue # 36664) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4"/> Musical selections: ''Viva Sevilla!'' – Lavidad/Delmoral, ''Noche de Amor'' – Tchaikovsky arr.Arvizu/Antonini
{{external media|width=200px |audio1= You may hear John Serry and the Shep Fields Orchestra performing "With A Smile and A Song" in 1937 [https://adp.library.ucsb.edu/index.php/matrix/detail/200030366/BS-017487-With_a_smile_and_a_song '''Here on DAHR''']|audio2= You may hear John Serry and the Shep Fields Orchestra performing the fox trot "There's a New Moon Over the Old Mill" in 1937 [https://adp.library.ucsb.edu/index.php/matrix/detail/200030370/BS-017491-Theres_a_new_moon_over_the_old_mill '''Here on DAHR'''] |audio3= You may hear John Serry performing "Whistle While You Work" with the Shep Fields Orchestra in 1937 [https://adp.library.ucsb.edu/index.php/matrix/detail/200030367/BS-017488-Whistle_while_you_work '''Here on DAHR'''] |audio4=You may hear John Serry and the Shep Fields Orchestra performing "In the Merry Month of May" [https://adp.library.ucsb.edu/index.php/matrix/detail/200032378/BS-023253-In_the_merry_month_of_May '''Here on DAHR'''] }}
* ''Shep Fields and His Rippling Rhythm Orchestra'' – Bluebird Records – as the accordionist (1938)<ref name="Rust1975"/><ref name="ReferenceG">[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John John Serry's audio recordings with the Shep Fields Rippling Rhythm Orchestra on Discography of American Historical Recordings]</ref><ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200033326/PBS-026255-An_old_curiosity_shop Audio recording with the Shep Fields Orchestra – "An Old Curiosity Shop" (1938) on the Discography of American Historical Records adp.library.ucsb.edu]</ref>List of recordings 1938: ''A Stranger in Paree'' (#B-7566), ''I Wanna Go Back to Bali'' (B#7566) – [[Harry Warren]]/[[Al Dubin]], ''Cathedral in the Pines'' (#B-7553) – [[Charles Kenny]]/Nick Kenney, ''Somewhere with Somebody Else'' (#B-7555), ''That Feeling Is Gone'' (#B-7555), ''Good Evenin', Good Lookin'' (#B-7553), ''My Walking Stick'' (#B-7592), ''Havin' Myself a Time'' (#B-7581) – [[Ralph Rainger]]/Leo Robin, ''Fare Thee Well, Annie Laurie'' (#B-7581), ''This Time It's Real'' (#B-7579), ''If It Rains – Who Cares?'' (#B-7579), ''[[Now It Can Be Told]]'' (#B-7592) – [[Irving Berlin]], ''I've Got a Pocketful of Dreams'' (#B-7581), ''In Any Language'' (#B-7604), ''Where in the World'' (#B-7604), ''[[Any Little Girl, That's a Nice Little Girl, Is the Right Little Girl for Me]]'' (#B-7606) – Thomas J. Gray/[[Fred Fisher]], ''[[The Fountain in the Park|In the Merry Month of May]]'' (#B-7606) – Ed Haley, ''Don't Let That Moon Get Away'' (#B-7697) – [[Johnny Burke (lyricist)]]/[[James V. Monaco]], ''An Old Curiosity Shop'' (#B-10056) – [[Sam Coslow]], [[Guy Wood]], [[Abner Silver]]
*''Shep Fields and His Rippling Rhythm Orchestra'' – Bluebird Records – as the accordionist (1937)<ref name="Rust1975"/><ref name="ReferenceG"/>List of recordings 1937: ''[[With a Smile and a Song (song)|With a Smile and a Song]]'' (#B-7343) – [[Frank Churchill]]/[[Larry Morey]], ''[[Whistle While You Work]]'' (#B-7343) – [[Frank Churchill]]/[[Larry Morey]], ''It's Wonderful'' (#B-7333), ''I'm the One Who Loves You'' (#B-7333), ''There's a New Moon Over the Old Mill'' (#B-7355) – [[Allie Wrubel]]/[[Herb Magidson]], ''Goodnight, Angel'' (#B-7355) [[Allie Wrubel]]/[[Herb Magidson]], ''Bob White (Whatcha Gonna Swing Tonight?)'' (#B-7345) – [[Bernard Hanighen]]/[[Johnny Mercer]]
* ''Chicago Musette-John Serry and His Accordion'' – Versailles (catalogue # 90 M 178) released in France (1958)<ref name="catalogue.bnf.fr"/><ref name="auto3"/> List of musical arrangements: ''Rock and Roll Polka'' – [[Mort Lindsey]]/George Skinner, ''[[My Heart Cries for You]]''- [[Percy Faith]]/[[Carl Sigman]], ''[[Secret Love (Doris Day song)|Secret Love]]'' -[[Paul Francis Webster|Paul Webster]]/[[Sammy Fain]], ''[[Granada (song)|Granada]]'' – [[Agustín Lara]]

== Filmography ==
* ''[[The Big Broadcast of 1938]]'' (1938) – as himself, performing with the Shep Fields Orchestra.<ref>{{cite book|title=The big broadcast of 1938|date=26 November 2018|oclc = 934654999}}</ref>

== Invention ==
Serry was granted a patent in 1966 by the [[United States Patent Office]] for his design of a protective shield for collapsible toothpaste tubes (US Patent #US3269604).<ref>''Protective Shield For Collapsible Paste Tubes #US 3269604 A'' Inventor John Serry [https://patents.google.com/patent/US3269604 as listed on Google.com/patents]</ref><ref>[https://books.google.com/books?id=AHobAQAAMAAJ&dq=John+Serry&pg=PA1973 "Official Gazette: United States Patent Office" : # 3,269,604 -''Protective Shield For Collapsible Paste Tubes filed by John Serry'', August 30, 1966, p. 1973 on google.com/books]</ref> A patent for the same design was also granted to him by the [[Canadian Intellectual Property Office|Canadian Patent Office]] in 1966 (Serial #998,449 May 14, 1966).<ref>[https://books.google.com/books?id=2LdQAAAAYAAJ&q=%22+John+Serry+%22 ''Canadian Patent Office Record'' 1967 Vol 95, p. 7659 -"Protective Shield for Collapsible Paste Tubes...John Serry, USA...May 1966 Serial # 980,449 on Google Books]</ref>

== Publications ==
* {{Citation|last=Serry|first=John|title=The Danzon, The Bolero, The Rumba – The Substitute American Rhythm Emphasis Laid on Going Native|magazine=Accordion News|date= 1935}}<ref name="ReferenceH">[https://books.google.com/books?id=63LFkLKKPxIC&q=John%20Serry Accordion News & John Serry on Google Books]</ref>
* {{Citation|last=Serry|first=John|title=Training: Reading From Piano Scores. Stumbling Cues. Avoid Time Wasters|magazine=Accordion News|date=1935}}<ref name="ReferenceH"/>
* {{Citation|last=Serry|first=John|title=Chorus|magazine=Accordion News|date=1936}}<ref>[https://books.google.com/books?id=LJ5peQ2vYrgC&q=John%20Serry Accordion News & John Serry on Google Books]</ref>
* {{Citation|last=Serry|first=John|title=Accordions & Orchestras: Past Present & Future|magazine=Accordion World|date=November 1937}}.
* {{Citation|last=Serry|first=John|title=Those Neglected Basses|magazine=Accordion World|date=March 1939}}.
* {{Citation|last=Serry|first=John|title=What's Wrong With The Accordion|magazine=Accordion World|date=1947}}.<ref name=Jacobson2007/>
* {{Citation|last=Serry|first=John|title=Jazz And The Student Accordionist|magazine=Accordion World|year=1961}}.<ref>[https://books.google.com/books?id=junZxW_-MIkC&q=John+Serry+Accordion+World Accordion World Vol. 26 No. 1, April 1961, p. 2 "Jazz and the Student Accordionist" by John Serry on Google Books]</ref>
* {{Citation|last=Serrapica|first=John|title=The Syncopated Accordionist|year=1952|publisher=Charles Colin}}.<ref name="loc.gov"/>

== Archived works ==
{{external media|float=right|width=100px|image1=The John J. Serry Sr. Collection Archive [[University of Rochester]] [[Eastman School of Music]]. [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf '''Here on esm.rochester.edu''']}}
* ''The John J. Serry Sr. Collection'' at the [[Eastman School of Music]]'s [[Sibley Music Library]] within the Ruth T. Watanabe Special Collections Department contains selected examples of Serry's original compositional scores, arrangements, LP recordings, reel to reel recording tapes of his performances, biographical articles and other biographical reference materials which have been donated for archival purposes to benefit both researchers and students. The archive includes a copy of his album ''[[Squeeze Play (album)|Squeeze Play]]'' and an audio recording of his arrangements for ''[[RCA Thesaurus]]''. Researchers may contact the staff archivist directly for further assistance in obtaining copies of scores or reviewing LP recordings.<ref name="ReferenceF"/><ref name="River Campus 1980"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection archived at the Eastman School of Music on esm.rochester.edu]</ref>

* The [[Discography of American Historical Recordings]] catalog at the University of California at Santa Barbara includes several of the master recordings of Serry's performances with the Shep Fields Rippling Rhythm Jazz Orchestra in New York City (1937-1938) which are accessible online via audio streaming.<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John Discograph of American Historical Recordings – University of California Santa Barbara: Audio recordings of John Serry in the Shep Fields Rippling Rhythm Orchestra]</ref>

== Professional affiliations ==
Serry was an active member of the [[Broadcast Music Incorporated|BMI]], [[SESAC]], [[American Federation of Musicians]] (Local #802) (1933–2003),<ref>{{cite web|url=http://www.local802afm.org/2004/01/REQUIEM-53/|title=Requiem – Associated Musicians of Greater New York – Local 802|website=Associated Musicians of Greater New York – Local 802|date=January 2004 |access-date=26 November 2018}}</ref><ref name="Serrapica p. 398"/> and The [[American Guild of Organists]]. For a brief period he served as a charter member of the [[American Accordionists Association]] (1938). He pursued professional musical studies with: Joseph Rossi (accordion, 1926–1929); Albert Rizzi (piano and harmony, 1929–1932); Gene Von Hallberg (counterpoint and harmony, 1933–1934)<ref name="article10"/> (a founder of the [[American Accordionists Association]]); Jascha Zade (piano, 1945–1946);<ref name="article10"/> Arthur Guttow (organ, 1946), and Robert Strassburg (piano, advanced harmony, and orchestration, 1948–1950).

== See also ==
[[Accordion music genres]] 
[[Bolero]] 
[[Easy listening]] 
[[Secular Jewish music]] 
[[Wedding music]]
{{Portal bar|Biography|Music|Latin music|Classical music|Jazz}}

== References ==
{{reflist}}

== External links ==
* [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection at the Eastman School of Music – archive of scores, compositions, arrangements and recordings by John Serry at the University of Rochester's Eastman School of Music – Sibley Music Library- Ruth T. Watanabe Special Collections]
* [http://gallica.bnf.fr/ark:/12148/bpt6k88198701?rk=21459;2 ''Chicago Musette – John Serry et son Accordeon'' – sound recording of Serry performing "Granada" by Agustin Lara on BnF Gallica.bnf.fr {{in lang|fr}}]
* [http://frontera.library.ucla.edu/frontera-search?keywords=Orquesta+Pan+Americana+CBS ''Asi'', ''Esta Noche Ha Pasado'', ''Somos Differentes'', and ''Tres Palabras'' – Sound recordings of John Serry Sr. performing as accordionist in the Orquesta Pan Americana with Alfredo Antonini conducting with vocalist Luis G. Roldan at the University of California Los Angeles on fronter.library.ucla.edu]
* [http://catalog.nypl.org/search/o747952344 ''It's a Grand Night for Singing'' – CBS radio program excerpt from Program of the Three Americas -Viva America Orchestra sound recording at the New York City Public Library Online Catalog at catalog.nypl.org]
* [https://catalog.loc.gov/vwebv/holdingsInfo?searchId=9754&recCount=25&recPointer=0&bibId=12137206 ''Latin American Music'' – Viva America Orchestra 78 RPM sound recordings at The Library of Congress Online Catalog at catalog.loc.gov]
* [https://www.archives.gov/research/guide-fed-records/groups/229.html#229.6.2 Copies of selected radio broadcasts by the Office of the Coordinator of Inter-American Affairs – Radio Division as archived at the United States National Archive www.archives.gov]
* [https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John Discography of American Historical Recordings: University of California Santa Barbara – Audio recordings online of John Serry and the Shep Fields Rippling Rhythm Orchestra 1937 – 1938]
* [https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John Discography of American Historical Recordings: University of California Santa Barbara – Audio recordings online of John Serrapica (aka John Serry) and the Charles Magnante Accordion Band 1941]
* [https://www.worldcat.org/search?q=John+Serry+accordionist ''The Syncopated Accordionist'', ''Rhythm-Airs'', ''The Bugle Polka'', ''Consolation Waltz'' – Musical scores by John Serry on WorldCat.org]
* [https://www.worldcat.org/title/945114698 ''Fantasy In F'' – Musical score by John Serry on WorldCat.org]
* [https://www.worldcat.org/title/945114662?oclcNum=945114662 ''Glissando'' – Musical score by John Serry on worldCat.org]
*[https://www.worldcat.org/title/945114625?oclcNum=945114625 ''Tarantella'' – Musical score by John Serry on WorldCat.org]

{{Authority control}}

{{DEFAULTSORT:Serry, John Sr.}}
[[Category:1915 births]]
[[Category:2003 deaths]]
[[Category:Musicians from Brooklyn]]
[[Category:People from Brookville, New York]]
[[Category:Classical musicians from New York (state)]]
[[Category:Jazz musicians from New York (state)]]
[[Category:20th-century accordionists]]
[[Category:20th-century American composers]]
[[Category:20th-century American male musicians]]
[[Category:20th-century classical composers]]
[[Category:20th-century jazz composers]]
[[Category:20th-century organists]]
[[Category:American classical accordionists]]
[[Category:American classical composers]]
[[Category:American classical organists]]
[[Category:American jazz accordionists]]
[[Category:American jazz composers]]
[[Category:American male classical composers]]
[[Category:American music arrangers]]
[[Category:American people of Italian descent]]
[[Category:Dot Records artists]]
[[Category:Jazz-influenced classical composers]]
[[Category:American male jazz composers]]
[[Category:American male classical organists]]

Just war theory

2024-10-15T21:43:39Z

160.72.80.178: /* Just war tradition */ ''Correted spelling''~~~~NHPL

{{short description|Doctrine about when a war is ethically just}}
{{redirect|Just war|the 1996 science fiction novel|Just War (novel)}}
{{use dmy dates|date=July 2021}}
[[File:Gerard Seghers (attr) - The Four Doctors of the Western Church, Saint Augustine of Hippo (354–430).jpg|thumb|[[Augustine of Hippo|Saint Augustine]] was the first clear advocate of just-war theory.]]
{{war}}
The '''just war theory''' ({{lang-la|bellum iustum}})<ref>{{Cite book |last1=Cicero |first1=Marcus Tullius |url=http://archive.org/details/deofficiiswithen00ciceuoft |title=De officiis. With an English translation by Walter Miller |last2=Miller |first2=Walter |date=1913 |publisher=London Heinemann |others=Robarts - University of Toronto}}</ref><ref>{{Cite book |last1=Fellmeth |first1=Aaron X. |chapter=Bellum iustum |date=2009 |chapter-url=https://www.oxfordreference.com/view/10.1093/acref/9780195369380.001.0001/acref-9780195369380-e-285 |title=Guide to Latin in International Law |publisher=Oxford University Press |language=en |doi=10.1093/acref/9780195369380.001.0001 |isbn=978-0-19-536938-0 |access-date=2022-02-27 |last2=Horwitz |first2=Maurice}}</ref> is a [[doctrine]], also referred to as a tradition, of [[military ethics]] that aims to ensure that a war is morally justifiable through a series of [[#Criteria|criteria]], all of which must be met for a [[war]] to be considered just. It has been studied by military leaders, theologians, [[ethicist]]s and policymakers. The criteria are split into two groups: {{lang|la|[[#Jus ad bellum|jus ad bellum]]}} ("right to go to war") and {{lang|la|[[#Jus in bello|jus in bello]]}} ("right conduct in war"). The first group of criteria concerns the [[morality]] of going to war, and the second group of criteria concerns the moral conduct within war.<ref name="Tradition">{{cite book |last1=Guthrie |first1=Charles |last2=Quinlan |first2=Michael |year=2007 |title= Just War: The Just War Tradition: Ethics in Modern Warfare |isbn= 978-0747595571 |pages=11–15 |chapter=III: The Structure of the Tradition |publisher=Bloomsbury }}</ref> There have been calls for the inclusion of a third category of just war theory (''[[jus post bellum]]'') dealing with the morality of post-war settlement and reconstruction. The just war theory postulates the belief that war, while it is terrible but less so with the right conduct, is not always the worst option. The just war theory presents a justfiable means of war with justice being an objective of armed conflict.<ref>{{Cite book |last1=Andersen-Rodgers |first1=David |title=Human security: theory and action |last2=Crawford |first2=Kerry F. |date=2023 |publisher=Rowman & Littlefield |isbn=978-1-5381-5992-7 |edition=2nd |series=Peace and security in the 21st century |location=Lanham (Md.)}}</ref> Important responsibilities, undesirable outcomes, or preventable atrocities may justify war.<ref name="Tradition"/>

Opponents of the just war theory may either be inclined to a stricter [[Pacifism|pacifist]] standard (proposing that there has never been nor can there ever be a justifiable basis for war) or they may be inclined toward a more permissive [[Nationalism|nationalist]] standard (proposing that a war need only to serve a nation's interests to be justifiable). In many cases, [[Philosophy|philosophers]] state that individuals do not need to be plagued by a guilty conscience if they are required to fight. A few philosophers ennoble the virtues of the soldier while they also declare their apprehensions for war itself.<ref>{{Cite web|url=http://blogs.britannica.com/2010/03/william-james-on-peace-and-war/|title=William James on Peace and War|last=McHenry|first=Robert|date=22 March 2010|website=blogs.britannica.com|publisher=Britannica Blog|language=en-US|archive-url=https://web.archive.org/web/20151031190308/http://blogs.britannica.com/2010/03/william-james-on-peace-and-war/|archive-date=31 October 2015|url-status=dead|access-date=6 August 2017}}</ref> A few, such as [[Jean-Jacques Rousseau|Rousseau]], argue for insurrection against oppressive rule.

The historical aspect, or the "just war tradition", deals with the historical body of rules or agreements that have applied in various wars across the ages. The just war tradition also considers the writings of various philosophers and lawyers through history, and examines both their philosophical visions of war's ethical limits and whether their thoughts have contributed to the body of conventions that have evolved to guide war and warfare.<ref>{{Cite web|url=http://www.iep.utm.edu/justwar/|title=Just War Theory|website=Internet Encyclopedia of Philosophy|access-date=30 October 2016}}</ref>

In the [[21st century|twenty-first century]] there has been significant debate between traditional just war theorists, who largely support the existing [[law of war]] and develop arguments to support it, and [[revisionist just war theory|revisionists]] who reject many traditional assumptions, although not necessarily advocating a change in the law.<ref>{{cite journal |last1=Lazar |first1=Seth |title=Just War Theory: Revisionists Versus Traditionalists |journal=Annual Review of Political Science |date=2017 |volume=20 |issue=1 |pages=37–54 |doi=10.1146/annurev-polisci-060314-112706|doi-access=free }}</ref><ref>{{cite web |last1=Lazar |first1=Seth |title=War |url=https://plato.stanford.edu/entries/war/#TradRevi |website=The Stanford Encyclopedia of Philosophy |publisher=Metaphysics Research Lab, Stanford University |access-date=13 June 2023 |date=2020}}</ref>

==Origins==
===Ancient Egypt===
A 2017 study found that the just war tradition can be traced as far back as to [[Ancient Egypt]].<ref name="cox">{{Cite journal|last=Cox|first=Rory|title=Expanding the History of the Just War: The Ethics of War in Ancient Egypt|journal=International Studies Quarterly|volume=61|issue=2|page=371|doi=10.1093/isq/sqx009|year=2017|hdl=10023/17848|hdl-access=free}}</ref> Egyptian ethics of war usually centered on three main ideas, these including the cosmological role of Egypt, the pharaoh as a divine office and executor of the will of the gods, and the superiority of the Egyptian state and population over all other states and peoples. Egyptian political theology held that the pharaoh had the exclusive legitimacy in justly initiating a war, usually claimed to carry out the will of the gods. [[Senusret I]], in the [[Twelfth Dynasty]], claimed, "I was nursed to be a conqueror...his [Atum's] son and his protector, he gave me to conquer what he conquered." Later pharaohs also considered their sonship of the god Amun-Re as granting them absolute ability to declare war on the deity's behalf. Pharaohs often visited temples prior to initiating campaigns, where the pharaoh was believed to receive their commands of war from the deities. For example, [[Kamose]] claimed that "I went north because I was strong (enough) to attack the Asiatics through the command of Amon, the just of counsels." A [[stele]] erected by [[Thutmose III]] at the Temple of Amun at [[Karnak]] "provides an unequivocal statement of the pharaoh's divine mandate to wage war on his enemies." As the period of the [[New Kingdom of Egypt|New Kingdom]] progressed and Egypt heightened its territorial ambition, so did the invocation of just war aid the justification of these efforts. The universal principle of [[Maat]], signifying order and justice, was central to the Egyptian notion of just war and its ability to guarantee Egypt virtually no limits on what it could take, do, or use to guarantee the ambitions of the state.<ref name="cox" />

===India===
The Indian [[Hinduism|Hindu]] [[Indian epic poetry|epic]], the ''[[Mahabharata]]'', offers the first written discussions of a "just war" (''[[dharma-yuddha]]'' or "righteous war"). In it, one of five ruling brothers (''[[Pandava]]s'') asks if the suffering caused by war can ever be justified. A long discussion then ensues between the siblings, establishing criteria like ''proportionality'' ([[Ratha|chariots]] cannot attack cavalry, only other chariots; no attacking people in distress), ''just means'' (no poisoned or barbed arrows), ''just cause'' (no attacking out of rage), and fair treatment of captives and the wounded.<ref>{{cite book |author1=Paul Robinson |title=Just War in Comparative Perspective |year=2017 |isbn=9781351924528 |page=|publisher=Routledge }}</ref>

In [[Sikhism]], the term ''[[Dharamyudh (Sikhism)|dharamyudh]]'' describes a war that is fought for just, righteous or religious reasons, especially in defence of one's own beliefs. Though some core tenets in the Sikh religion are understood to emphasise peace and nonviolence, especially before the 1606 execution of [[Guru Arjan]] by [[Mughal Empire|Mughal]] Emperor [[Jahangir]],<ref name="Syan">{{Cite book |last=Syan |first=Hardip Singh |url=https://books.google.com/books?id=9RzzxcEL4C0C&pg=PA3 |title=Sikh Militancy in the Seventeenth Century: Religious Violence in Mughal and Early Modern India |date=2013 |publisher=I.B.Tauris |isbn=9781780762500 |location=London & New York |pages=3–4, 252 |access-date=15 September 2019}}</ref> military force may be justified if all peaceful means to settle a conflict have been exhausted, thus resulting in a ''dharamyudh''.<ref name="Fenech">{{Cite book |author1=Louis E. Fenech |title=Historical Dictionary of Sikhism |author2=W. H. McLeod |date=2014 |publisher=Rowman & Littlefield |isbn=9781442236011 |pages=99–100}}</ref>

===East Asian===
[[Chinese philosophy]] produced a massive body of work on warfare, much of it during the [[Zhou dynasty]], especially the [[Warring States era]]. War was justified only as a last resort and only by the rightful sovereign; however, questioning the decision of the emperor concerning the necessity of a military action was not permissible. The success of a military campaign was sufficient proof that the campaign had been righteous.<ref>{{Cite journal | url=https://irstudies.org/index.php/jirs/article/view/777/753| title= A Confucian Contribution to the Catholic Just War Tradition| journal=Journal of Interreligious Studies | date=2023 | author= Kwon, David}}</ref>

[[Japan]] did not develop its own doctrine of just war but between the 5th and the 7th centuries drew heavily from Chinese philosophy, and especially [[Confucianism|Confucian]] views. As part of the Japanese campaign to take the northeastern island [[Honshu]], Japanese military action was portrayed as an effort to "pacify" the [[Emishi]] people, who were likened to "bandits" and "wild-hearted wolf cubs" and accused of invading Japan's frontier lands.<ref name="routledge2004">{{cite book|url=https://books.google.com/books?id=DROBAV-DQ9IC&pg=PA20|title=Samurai, Warfare and the State in Early Medieval Japan|first=Karl F.|last=Friday |author1-link=Karl Friday |publisher=Routledge | date=2004 |pages=21–22|isbn=9781134330225}}</ref>

===Ancient Greece and Rome===
The notion of just war in Europe originates and is developed first in [[ancient Greece]] and then in the [[Roman Empire]].<ref>Gregory Raymond, ''The Greco-Roman Roots of the Western Just War Tradition'', Routledge 2010.</ref><ref>Rory Cox, "The Ethics of War up to Thomas Aquinas" in (eds. Lazar & Frowe) ''The Oxford Handbook of Ethics of War'', Oxford 2018.</ref><ref>Cian O'Driscoll, "Rewriting the Just War Tradition: Just War in Classical Greek Political Thought and Practice," International Studies Quarterly (2015).</ref>

It was [[Aristotle]] who first introduced the concept and terminology to the [[Hellenic world]] that called war a last resort requiring conduct that would allow the restoration of peace. Aristotle argues that the cultivation of a military is necessary and good for the purpose of self-defense, not for conquering: "The proper object of practising military training is not in order that men may enslave those who do not deserve slavery, but in order that first they may themselves avoid becoming enslaved to others" ([[Politics (Aristotle)|Politics]], Book 7).<ref>{{cite web |last1=Aristotle |title=Politics, Book 7 |url=http://www.perseus.tufts.edu/hopper/text?doc=Perseus:abo:tlg,0086,035:7 |website=Perseus Digital Library}}</ref>

In [[ancient Rome]], a "just cause" for war might include the necessity of repelling an invasion, or retaliation for pillaging or a breach of treaty.<ref>Livy 9.1.10; [[Cicero]], ''[[Divinatio in Caecilium]]'' 63; ''De provinciis consularibus'' 4; ''Ad Atticum'' VII 14, 3; IX 19, 1; ''Pro rege Deiotauro'' 13; ''[[De officiis]]'' I 36; ''Philippicae'' XI 37; XIII 35; ''De re publica'' II 31; III 35; [[Isidore of Seville]], ''Origines'' XVIII 1, 2; [[Modestinus]], ''Libro I regolarum'' = ''[[Corpus Juris Civilis|Digesta]]'' I 3, 40; [[E. Badian]], ''Roman Imperialism in the Late Republic'' (Ithaca 1968, 2nd ed.), p.11.</ref> War was always potentially ''[[nefas]]'' ("wrong, forbidden"), and risked [[Religion in ancient Rome|religious pollution and divine disfavor]].<ref>[[William Warde Fowler]], ''The Roman Festivals of the Period of the Republic'' (London 1925), pp. 33ff.; M. Kaser, ''Das altroemische Ius'' (Goettingen 1949), pp. 22ff; P. Catalano, ''Linee del sistema sovrannazionale romano'' (Torino 1965), pp. 14ff.; W. V. Harris, ''War and imperialism in Republican Rome, 327-70 B.C.'' (Oxford 1979), pp. 161 ff.</ref> A "just war" (''bellum iustum'') thus required a ritualized [[declaration of war|declaration]] by the [[fetial]] priests.<ref>[[Livy]] 1.32; 31.8.3; 36.3.9</ref> More broadly, conventions of war and treaty-making were part of the ''[[ius gentium]]'', the "law of nations", the customary moral obligations regarded as innate and universal to human beings.<ref>Cicero, ''De officiis'' 3.17.69; [[Marcia L. Colish]], ''The Stoic Tradition from Antiquity to the Early Middle Ages'' (Brill, 1980), p. 150.</ref>

===Christian views===
Christian theory of the Just War begins around the time of [[Augustine of Hippo]]<ref>[http://olympia.anglican.org/churches/B/stdunstan/Beliefs/Christians_War/Christians_War_2.htm Christians and War: Augustine of Hippo and the "Just War theory"] {{webarchive |url=https://web.archive.org/web/20061128152303/http://olympia.anglican.org/churches/B/stdunstan/Beliefs/Christians_War/Christians_War_2.htm |date=28 November 2006 }}</ref> The Just War theory, with some amendments, is still used by
Christians today as a guide to whether or not a war can be justified. Christians may argue "Sometimes war may be necessary and right, even though it may not be good." In the case of a country that has been invaded by an occupying force, war may be the only way to restore justice. <ref>{{cite web |date=27 September 2024 |title=Forgiveness What is a Just War? |url=https://www.bbc.co.uk/bitesize/guides/z2b36yc/revision/4 |url-status=dead |archive-url=https://www.bbc.co.uk/bitesize/guides/zbygjxs/revision/5 |archive-date=27 September 2024 |access-date=11 May 2020 |website=Bitesize |publisher=[[BBC]]}}</ref>

====Saint Augustine====
[[Saint Augustine]] held that individuals should not resort immediately to violence, but God has given the sword to government for a good reason (based upon Romans 13:4). In ''Contra Faustum Manichaeum'' book 22 sections 69–76, Augustine argues that Christians, as part of a government, need not be ashamed of protecting peace and punishing wickedness when they are forced to do so by a government. Augustine asserted that was a personal and philosophical stance: "What is here required is not a bodily action, but an inward disposition. The sacred seat of virtue is the heart."<ref>{{cite web|url=http://www.christianitytoday.com/ct/2001/septemberweb-only/9-17-55.0.html|title=A Time For War?|author=Robert L. Holmes|work=ChristianityToday.com|date=September 2001 |access-date=25 April 2015}}</ref>

Nonetheless, he asserted, peacefulness in the face of a grave wrong that could be stopped by only violence would be a sin. Defense of oneself or others could be a necessity, especially when it is authorized by a legitimate authority:<blockquote>They who have waged war in obedience to the divine command, or in conformity with His laws, have represented in their persons the public justice or the wisdom of government, and in this capacity have put to death wicked men; such persons have by no means violated the commandment, "Thou shalt not kill."<ref name=":0b">{{cite web|url=http://etext.lib.virginia.edu/etcbin/toccer-new2?id=AugCity.xml&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=all |archive-url=https://web.archive.org/web/20130725190746/http://etext.lib.virginia.edu/etcbin/toccer-new2?id=AugCity.xml&images=images%2Fmodeng&data=%2Ftexts%2Fenglish%2Fmodeng%2Fparsed&tag=public&part=all |title=City of God |archive-date=25 July 2013 |access-date=25 April 2015 |url-status=dead }}</ref></blockquote>While not breaking down the conditions necessary for war to be just, Augustine nonetheless originated the very phrase itself in his work [[City of God (book)|''The City of God'']]:

<blockquote>But, say they, the wise man will wage Just Wars. As if he would not all the rather lament the necessity of just wars, if he remembers that he is a man; for if they were not just he would not wage them, and would therefore be delivered from all wars.<ref name=":0b"/></blockquote>

Augustine further taught:
<blockquote>No war is undertaken by a good state except on behalf of good faith or for safety.<ref >City of God, 22.6, quoted in {{cite web |last1=Lockwood |first1=Thornton |title=Cicero's Philosophy of Just War |url=https://philarchive.org/archive/LOCCPO |website=PhilArchive |access-date=28 July 2023}} The text seems from a missing fragment of [[Cicero]]'s dialog [[On the Republic]], by the Laelius character.</ref></blockquote>

J. Mark Mattox writes,<blockquote>In terms of the traditional notion of jus ad bellum (justice of war, that is, the circumstances in which wars can be justly fought), war is a coping mechanism for righteous sovereigns who would ensure that their violent international encounters are minimal, a reflection of the [[Will of God|Divine Will]] to the greatest extent possible, and always justified. In terms of the traditional notion of jus in bello (justice in war, or the moral considerations which ought to constrain the use of violence in war), war is a coping mechanism for righteous combatants who, by divine edict, have no choice but to subject themselves to their political masters and seek to ensure that they execute their war-fighting duty as justly as possible.<ref name="augustine_war_and_peace_just_war">[http://www.iep.utm.edu/aug-poso/#SH3c Augustine: Political and Social Philosophy], §3-c "War and Peace – The Just War"</ref></blockquote>

====Isidore of Seville====
[[Isidore of Seville]] writes:
<blockquote>Those wars are unjust which are undertaken without cause. For aside from vengeance or to fight off enemies no just war can be waged. <ref >Etymologies 18.1.2-3, quoted in {{cite web |last1=Lockwood |first1=Thornton |title=Cicero's Philosophy of Just War |url=https://philarchive.org/archive/LOCCPO |website=PhilArchive |access-date=28 July 2023}}. The text seems from a missing fragment of [[Cicero]]'s dialog [[On the Republic]], by the Laelius character.</ref></blockquote>

====Peace and Truce of God====
{{Main|Peace and Truce of God}}
The medieval [[Peace_and_Truce_of_God#Peace_of_God|Peace of God]] (Latin: {{lang|la|pax dei}}) was a 10th century mass movement in Western Europe instigated by the clergy that granted immunity from violence for non-combatants.

Starting in the 11th Century, the [[Peace_and_Truce_of_God#Truce_of_God|Truce of God]] (Latin: {{lang|la|treuga dei}}) involved Church rules that successfully limited when and where fighting could occur: Catholic forces (e.g. of warring [[baron]]s) could not fight each other on Sundays, Thursdays, holidays, the entirety of [[Lent]] and [[Advent]] and other times, severely disrupting the conduct of wars. The 1179 [[Third Council of the Lateran]] adopted a version of it for the whole church.

====Saint Thomas Aquinas====
{{See|Thomas Aquinas#Just war}}

The just war theory by [[Thomas Aquinas]] has had a lasting impact on later generations of thinkers and was part of an emerging consensus in [[Medieval Europe]] on just war.<ref name=":1">{{Cite book|title=Thomas Aquinas on War and Peace|author=Gregory M. Reichberg|publisher=Cambridge University Press|year=2017|isbn=9781107019904|page=viii}}</ref> In the 13th century Aquinas reflected in detail on peace and war. Aquinas was a [[Dominican friar]] and contemplated the teachings of the Bible on peace and war in combination with ideas from [[Aristotle]], [[Plato]], [[Socrates]], [[Saint Augustine]] and other philosophers whose writings are part of the [[Western canon]]. Aquinas' views on war drew heavily on the {{lang|la|[[Decretum Gratiani]]}}, a book the Italian monk Gratian had compiled with passages from the Bible. After its publication in the 12th century, the {{lang|la|Decretum Gratiani}} had been republished with commentary from [[Pope Innocent IV]] and the Dominican friar [[Raymond of Penafort]]. Other significant influences on Aquinas just war theory were [[Alexander of Hales]] and [[Henry of Segusio]].<ref>{{Cite book|title=Thomas Aquinas on War and Peace|author=Gregory M. Reichberg|publisher=Cambridge University Press|year=2017|isbn=9781107019904|page=vii}}</ref>

In ''[[Summa Theologica]]'' Aquinas asserted that it is not always a [[sin]] to wage war, and he set out criteria for a just war. According to Aquinas, three requirements must be met. Firstly, the war must be waged upon the command of a rightful [[sovereign]]. Secondly, the war needs to be waged for just cause, on account of some wrong the attacked have committed. Thirdly, warriors must have the right intent, namely to promote good and to avoid evil.<ref>{{Cite book |last=Aquinas |first=Thomas |url=https://ccel.org/ccel/aquinas/summa/summa |title=Summa Theologica |publisher=Christian Classics Ethereal Library |pages=pt. II, sec. 2, q. 40, a. 1}}</ref><ref>{{Cite book|title=The Oxford Handbook of Ethics of War |editor=Seth Lazar |editor2=Helen Frowe|publisher=Oxford University Press|year=2018|isbn=9780199943418|page=114}}</ref> Aquinas came to the conclusion that a just war could be offensive and that injustice should not be tolerated so as to avoid war. Nevertheless, Aquinas argued that violence must only be used as a last resort. On the [[battlefield]], violence was only justified to the extent it was necessary. Soldiers needed to avoid cruelty and a just war was limited by the conduct of just combatants. Aquinas argued that it was only in the pursuit of justice, that the good intention of a moral act could justify negative consequences, including the killing of the innocent during a war.<ref>{{Cite book|title=The Oxford Handbook of Ethics of War |editor=Seth Lazar |editor2=Helen Frowe|publisher=Oxford University Press|year=2018|isbn=9780199943418|page=115}}</ref>

====Renaissance and Christian Humanists====
Various [[Renaissance humanists]] promoted [[Pacificist]] views.

* [[John Colet]] famously preached a Lenten sermon before Henry VIII, who was preparing for a war, quoting Cicero "Better an unjust peace rather than the justest war."<ref>{{cite journal |last1=MacKenzie |first1=Kathleen |title=John Colet of Oxford |journal=Dalhousie Review |volume=21 |issue=1 |pages=15–28 |url=https://dalspace.library.dal.ca/bitstream/handle/10222/57562/dalrev_vol21_iss1_pp15_28.pdf?sequence=1&isAllowed=y |access-date=28 July 2023}}</ref>
* [[Erasmus of Rotterdam]] wrote numerous works on peace which criticized Just War theory as a smokescreen and added [[Erasmus#Pacifism|extra limitations]], notably ''The Complaint of Peace'' and the ''[https://www.gutenberg.org/files/39487/39487-h/39487-h.htm Treatise on War]'' (Dulce bellum inexpertis).

A leading humanist writer after the Reformation was legal theorist [[Hugo Grotius]], whose [[Hugo_Grotius#De_Jure_Belli_ac_Pacis|''De jura belli ac pacis'']] re-considered Just War and fighting wars justly.

==== First World War ====
At the beginning of the [[First World War]], a group of theologians in [[Germany]] published a manifesto that sought to justify the actions of the German government. At the British government's request, [[Randall Davidson]], [[Archbishop of Canterbury]], took the lead in collaborating with a large number of other religious leaders, including some with whom he had differed in the past, to write a rebuttal of the Germans' contentions. Both German and British theologians based themselves on the just war theory, each group seeking to prove that it applied to the war waged by its own side.<ref>Mews, Stuart. "Davidson, Randall Thomas, Baron Davidson of Lambeth (1848–1930), Archbishop of Canterbury", [[Oxford Dictionary of National Biography]], [[Oxford University Press]], 2011.</ref>

====Contemporary Catholic doctrine====
The just war doctrine of the [[Catholic Church]] found in the 1992 ''[[Catechism of the Catholic Church]]'', in paragraph 2309, lists four strict conditions for "legitimate defense by military force:"<ref>{{cite book|title=Catechism of the Catholic Church|edition=2|publisher=Liberia Editrice Vaticana|isbn=1574551108|url=https://archive.org/details/catechismofcatho2000cath|access-date=25 April 2015|year=2000|url-access=registration}}</ref><ref>{{cite web|title=Just-War Theory, Catholic Morality, And The Response To International Terrorism.
|url=https://www.catholicculture.org/culture/library/view.cfm?id=4644|access-date=11 May 2020}}</ref>
* The damage inflicted by the aggressor on the nation or community of nations must be lasting, grave and certain.
* All other means of putting an end to it must have been shown to be impractical or ineffective.
* There must be serious prospects of success.
* The use of arms must not produce evils and disorders graver than the evil to be eliminated.

The ''[[Compendium of the Social Doctrine of the Church]]'' elaborates on the just war doctrine in paragraphs 500 to 501, while citing the [[Charter of the United Nations]]:<ref name="compendio">{{cite web|url=https://www.vatican.va/roman_curia/pontifical_councils/justpeace/documents/rc_pc_justpeace_doc_20060526_compendio-dott-soc_en.html|title=Compendium of the Social Doctrine of the Church|access-date=10 April 2024}}</ref>

{{quotation|If this responsibility justifies the possession of sufficient means to exercise this right to defense, States still have the obligation to do everything possible "to ensure that the conditions of peace exist, not only within their own territory but throughout the world". It is important to remember that "it is one thing to wage a war of self-defense; it is quite another to seek to impose domination on another nation. The possession of war potential does not justify the use of force for political or military objectives. Nor does the mere fact that war has unfortunately broken out mean that all is fair between the warring parties".

''The Charter of the United Nations ... is based on a generalized prohibition of a recourse to force to resolve disputes between States, with the exception of two cases: legitimate defence and measures taken by the Security Council within the area of its responsibilities for maintaining peace.'' In every case, exercising the right to self-defence must respect "the traditional limits of necessity and proportionality".

''Therefore, engaging in a preventive war without clear proof that an attack is imminent cannot fail to raise serious moral and juridical questions.'' International legitimacy for the use of armed force, on the basis of rigorous assessment and with well-founded motivations, can only be given by the decision of a competent body that identifies specific situations as threats to peace and authorizes an intrusion into the sphere of autonomy usually reserved to a State.||''[[Compendium of the Social Doctrine of the Church]]''<ref name="compendio"/>}}

Pope [[John Paul II]] in an address to a group of soldiers said the following:<ref>{{Cite web|url=https://www.catholiceducation.org/en/culture/catholic-contributions/the-church-s-just-war-theory-part-1.html/|title=The Church's Just War Theory|last=Saunders|first=William|website=Catholic Education Resource Center|date=19 October 2000 |language=en-US|access-date=10 May 2020}}</ref> {{Blockquote|Peace, as taught by Sacred Scripture and the experience of men itself, is more than just the absence of war. And the Christian is aware that on earth a human society that is completely and always peaceful is, unfortunately, an utopia and that the ideologies which present it as easily attainable only nourish vain hopes. The cause of peace will not go forward by denying the possibility and the obligation to defend it.}}

====Russian Orthodox Church====
The ''War and Peace'' section in the ''Basis of the Social Concept of the Russian Orthodox Church'' is crucial for understanding the [[Russian Orthodox Church]]'s attitude towards war. The document offers criteria of distinguishing between an aggressive war, which is unacceptable, and a justified war, attributing the highest moral and sacred value of military acts of bravery to a true believer who participates in a justified war. Additionally, the document considers the just war criteria as developed in Western Christianity to be eligible for Russian Orthodoxy; therefore, the justified war theory in Western theology is also applicable to the Russian Orthodox Church.<ref>{{cite journal|doi=10.3390/rel11010002|doi-access=free|title='Militant Piety in 21st-Century Orthodox Christianity: Return to Classical Traditions or Formation of a New Theology of War?|year=2019|last1=Knorre|first1=Boris|last2=Zygmont|first2=Aleksei|journal=Religions|volume=11|page=2}} [[File:CC-BY icon.svg|50px]] Text was copied from this source, which is available under a [https://creativecommons.org/licenses/by/4.0/ Creative Commons Attribution 4.0 International License].</ref>

In the same document, it is stated that wars have accompanied human history since the [[fall of man]], and according to [[the gospel]], they will continue to accompany it. While recognizing war as evil, the Russian Orthodox Church does not prohibit its members from participating in hostilities if there is the security of their neighbours and the restoration of trampled justice at stake. War is considered to be necessary but undesirable. It is also stated that the Russian Orthodox Church has had profound respect for soldiers who gave their lives to protect the life and security of their neighbours.<ref>{{cite web|url=https://mospat.ru/en/documents/social-concepts/viii/|title=Social Concepts, Chapter VIII.|language=en-US|access-date=10 May 2020|archive-date=9 June 2020|archive-url=https://web.archive.org/web/20200609115628/https://mospat.ru/en/documents/social-concepts/viii/|url-status=dead}}</ref>

===Just war tradition===
The just war theory, propounded by the medieval Christian philosopher [[Thomas Aquinas]], was developed further by legal scholars in the context of [[international law]]. [[Cardinal Cajetan]], the jurist [[Francisco de Vitoria]], the two [[Jesuit priest]]s [[Luis de Molina]] and [[Francisco Suárez]], as well as the [[humanist]] [[Hugo Grotius]] and the lawyer [[Luigi Taparelli]] were most influential in the formation of a ''just war tradition''. The just war tradition, which was well established by the 19th century, found its practical application in the [[Hague Peace Conferences]] (1899 and 1907) and in the founding of the [[League of Nations]] in 1920. After the [[United States Congress]] declared war on Germany in 1917, Cardinal [[James Gibbons]] issued a letter that all Catholics were to support the war<ref name=NCR>{{cite news|title=Ben Salmon and the Army of Peace |url= http://ncronline.org/blogs/road-peace/ben-salmon-and-army-peace |newspaper=[[National Catholic Reporter]] |author= John Dear |date= 23 February 2010}}</ref> because "Our Lord Jesus Christ does not stand for peace at any price... If by Pacifism is meant the teaching that the use of force is never justifiable, then, however well meant, it is mistaken, and it is hurtful to the life of our country."<ref>{{cite book|title= A History of the Parish of Trinity Church in the City of New York: The rectorship of Dr. William Thomas Manning 1908 to 1921|author=C. T. Bridgeman |year=1962|page=256}}</ref>

Armed conflicts such as the [[Spanish Civil War]], [[World War II]] and the [[Cold War]] were, as a matter of course, judged according to the norms (as established in Aquinas' just war theory) by philosophers such as [[Jacques Maritain]], [[Elizabeth Anscombe]] and [[John Finnis]].<ref name=":1" /> In the post cold war era, however, other scholars such as [[Robert L. Holmes]] and [[Barry L. Gan]] raised doubts concerning the continued suitability of "just war theory" norms in general.<ref name=":0">{{Cite journal |last=Holmes |first=Robert L. |date=2015 |title=The Metaethics of Pacifism and Just War Theory |url=https://onlinelibrary.wiley.com/doi/abs/10.1111/phil.12052 |journal=The Philosophical Forum |volume=46 |pages=3–15 |doi=10.1111/phil.12052}}</ref><ref>{{Cite book |last=Matthews |first=Gareth B. |url=https://books.google.com/books?id=ky6itexKzWcC&q=%2522Robert+L.+Holmes%2522+-wikipedia |title=The Augustinian Tradition: "St. Augutine and the Just War Theory" |date=1999 |publisher=University of California Press |isbn=978-0-520-21001-1 |language=en}}</ref><ref>{{Cite book |last1=Holmes |first1=Robert L. |url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms |title=Nonviolence in Theory and Practice |last2=Gan |first2=Barry L. |date=2005 |publisher=Waveland Press |isbn=978-1-57766-349-2}}</ref><ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref>

The first work dedicated specifically to ''just war'' was the 15th-century sermon ''De bellis justis'' of [[Stanisław of Skarbimierz]] (1360–1431), who justified war by the [[Kingdom of Poland (1385–1569)|Kingdom of Poland]] against the [[Teutonic Knights]].<ref>{{Cite book |last=David |first=Saul |chapter-url= https://books.google.com/books?id=8Llw8JSZEXYC&dq=De+bellis+justis+Stanis%C5%82aw+of+Skarbimierz&pg=PA345 |title= The Encyclopedia of War from Ancient Egypt to Iraq |date=2009-10-01 |publisher=Dorling Kindersley Limited |isbn= 978-1-4053-4778-5 |pages= 345 |language= en |chapter= Ethics of War |author-link= Saul David}}</ref> [[Francisco de Vitoria]] criticized the conquest of America by the [[History of Spain|Spanish]] [[conquistador]]s on the basis of just-war theory.<ref>{{Cite journal| url= https://lawreview.avemarialaw.edu/wp-content/uploads/2019/06/AMLR.v.10i2.salas_.pdf| title= Francisco de Vitoria on the Ius Gentium and the American Indios| journal= Ave Maria Law Review| date= 2012| author= Victor M. Salas Jr.| access-date= 11 July 2022| archive-date= 9 December 2021| archive-url= https://web.archive.org/web/20211209150822/https://lawreview.avemarialaw.edu/wp-content/uploads/2019/06/AMLR.v.10i2.salas_.pdf| url-status= dead}}</ref> With [[Alberico Gentili]] and [[Hugo Grotius]], just war theory was replaced by [[international law]] theory, codified as a set of rules, which today still encompass the points commonly debated, with some modifications.<ref>[[Gutman]] R, Rieff D. ''[[Crimes of War]]: What the Public Should Know''. New York, NY: [[W. W. Norton & Company]]; 1999</ref>

Just-war theorists combine a moral abhorrence towards war with a readiness to accept that war may sometimes be necessary. The criteria of the just-war tradition act as an aid in determining whether resorting to arms is morally permissible. Just-war theories aim "to distinguish between justifiable and unjustifiable uses of organized armed forces"; they attempt "to conceive of how the use of arms might be restrained, made more humane, and ultimately directed towards the aim of establishing lasting peace and justice".<ref>{{cite web |url=http://www.justwartheory.com/ |title=JustWarTheory.com |publisher=JustWarTheory.com |access-date=16 March 2010 |archive-date=6 March 2019 |archive-url=https://web.archive.org/web/20190306044341/http://www.justwartheory.com/ |url-status=dead }}</ref>

The just war tradition addresses the morality of the use of force in two parts: when it is right to resort to armed force (the concern of ''[[jus ad bellum]]'') and what is acceptable in using such force (the concern of ''[[jus in bello]]'').<ref>{{cite web|url= http://www.eppc.org/publications/pubID.1998/pub_detail.asp |title= Home > Publications > |publisher= Eppc.org |date= 1 September 1998 |access-date= 16 March 2010 |url-status= dead |archive-url= https://web.archive.org/web/20090509230737/http://www.eppc.org/publications/pubID.1998/pub_detail.asp |archive-date=9 May 2009}}</ref>

In 1869 the Russian military theorist [[Genrikh Antonovich Leer]] theorized on the advantages and potential benefits of war.<ref>
{{cite book| author1 = Genrikh Antonovich Leer |title = Opyt kritiko-istoricheskogo issledovaniya zakonov isskusstva vedeniya voyny|script-title = ru:Опыт критико-исторического исследования законов искусства ведения войны |trans-title = Critico-historical research into the laws of the art of the conduct of war |publication-date = 1869 |page = 1ff | publisher=Рипол Классик |isbn = 9785458055901}} </ref>

The [[Soviet Union|Soviet]] leader [[Vladimir Lenin]] defined only three types of just war.<ref>{{cite web|title= Just Wars in the Light of Marxism|publisher=Marxists Internet Archive|first= Erich|last= Wollenberg|url= https://www.marxists.org/history/etol/newspape/ni/vol03/no01/wollenberg.htm}}</ref>

<blockquote>But picture to yourselves a slave-owner who owned 100 slaves warring against a slave-owner who owned 200 slaves for a more "just" distribution of slaves. Clearly, the application of the term "defensive" war, or war "for the defense of the fatherland" in such a case would be historically false, and in practice would be sheer deception of the common people, of philistines, of ignorant people, by the astute slaveowners. Precisely in this way are the present-day imperialist bourgeoisie deceiving the peoples by means of "national ideology" and the term "defense of the fatherland" in the present war between slave-owners for fortifying and strengthening slavery.<ref>{{cite web|title=Socialism and War, ch. 1|publisher=Marxists Internet Archive|first= Vladimir|last= Lenin |url= https://www.marxists.org/archive/lenin/works/1915/s-w/ch01.htm}}</ref></blockquote>

The [[anarcho-capitalist]] scholar [[Murray Rothbard]] (1926-1995) stated that "a ''just'' war exists when a people tries to ward off the threat of coercive domination by another people, or to overthrow an already-existing domination. A war is ''unjust'', on the other hand, when a people try to impose domination on another people or try to retain an already-existing coercive rule over them."<ref>{{cite web |url= https://www.lewrockwell.com/1970/01/murray-n-rothbard/whats-a-just-war/ |title=Just War |access-date=26 June 2019 |author=Murray N. Rothbard |website= lewrockwell.com}}</ref>

[[Jonathan Riley-Smith]] writes:
<blockquote>The consensus among Christians on the use of violence has changed radically since the crusades were fought. The just war theory prevailing for most of the last two centuries—that violence is an evil that can, in certain situations, be condoned as the lesser of evils—is relatively young. Although it has inherited some elements (the criteria of legitimate authority, just cause, right intention) from the older war theory that first evolved around AD 400, it has rejected two premises that underpinned all medieval just wars, including crusades: first, that violence could be employed on behalf of Christ's intentions for mankind and could even be directly authorized by him; and second, that it was a morally neutral force that drew whatever ethical coloring it had from the intentions of the perpetrators.<ref>{{cite web |title= Rethinking the Crusades |publisher= Catholic Education Resource Center |first=Jonathan R. |last=Smith |url= http://www.catholiceducation.org/articles/history/world/wh0042.html | url-status = dead | archive-url = https://web.archive.org/web/20010723130919/http://www.catholiceducation.org/articles/history/world/wh0042.html |archive-date=23 July 2001}}</ref>
</blockquote>

==Criteria==

The just war theory has two sets of criteria, the first establishing ''jus ad bellum'' (the right to go to war), and the second establishing ''jus in bello'' (right conduct within war).<ref name=Childress>{{Cite journal|author=Childress, James F.|title=Just-War Theories: The Bases, Interrelations, Priorities, and Functions of Their Criteria|journal=Theological Studies|volume=39|issue=3|year=1978|pages=427–445|author-link=James Childress|doi=10.1177/004056397803900302|s2cid=159493143}}</ref>

===''Jus ad bellum''===
{{Main|Jus ad bellum}}
;[[Competent authority]]: Only duly constituted public authorities may wage war. "A just war must be initiated by a political authority within a political system that allows distinctions of justice. Dictatorships (e.g. [[Adolf Hitler|Hitler]]'s regime) or deceptive military actions (e.g. the [[Operation Menu|1968 US bombing of Cambodia]]) are typically considered as violations of this criterion. The importance of this condition is key. Plainly, we cannot have a genuine process of judging a just war within a system that represses the process of genuine justice. A just war must be initiated by a political authority within a political system that allows distinctions of justice".<ref>{{cite web|url=http://oregonstate.edu/instruct/phl201/modules/just_war_theory/criteria_intro.html|title=Just War Theory|access-date=25 April 2015|archive-date=7 September 2013|archive-url=https://web.archive.org/web/20130907081045/http://oregonstate.edu/instruct/phl201/modules/just_war_theory/criteria_intro.html|url-status=dead}}</ref>
;Probability of success: According to this principle, there must be good grounds for concluding that aims of the just war are achievable.<ref name=Hubert&Weiss>Don Hubert and Thomas G. Weiss et al. "The Responsibility to Protect: Supplementary Volume to the Report of the International Commission on Intervention and State Sovereignty". (Canada: International Development Research Centre, 2001)</ref> This principle emphasizes that mass violence must not be undertaken if it is unlikely to secure the just cause.<ref name=SEP>{{Cite web
| title = War (Stanford Encyclopedia of Philosophy) | access-date = 2014-08-27| url = http://plato.stanford.edu/entries/war/#2.1 |website= plato.stanford.edu}}</ref> This criterion is to avoid invasion for invasion's sake and links to the proportionality criteria. One cannot invade if there is no chance of actually winning. However, wars are fought with imperfect knowledge, so one must simply be able to make a logical case that one can win; there is no way to know this in advance. These criteria move the conversation from moral and theoretical grounds to practical grounds.<ref>{{cite book|last=Seybolt|first=Taylor B.|title=Humanitarian Military Intervention: The Conditions for Success and Failure|date=January 2007|publisher=Oxford University Press|isbn=978-0-19-925243-5}}</ref> Essentially, this is meant to gather coalition building and win approval of other state actors.
;Last resort: The principle of last resort stipulates that all non-violent options must first be exhausted before the use of force can be justified. Diplomatic options, sanctions, and other non-military methods must be attempted or validly ruled out before the engagement of hostilities. Further, in regard to the amount of harm—proportionally—the principle of last resort would support using small intervention forces first and then escalating rather than starting a war with massive force such as [[carpet bombing]] or [[nuclear warfare]].<ref>{{cite web|title=Just War Theory and the Last of Last Resort - Ethics & International Affairs|url=https://www.ethicsandinternationalaffairs.org/2015/just-war-theory-last-last-resort/|website=Ethics & International Affairs|access-date=April 2, 2017|date=12 June 2015|archive-date=21 June 2015|archive-url=https://web.archive.org/web/20150621004346/https://www.ethicsandinternationalaffairs.org/2015/just-war-theory-last-last-resort/|url-status=dead}}</ref>
;Just cause: The reason for going to war needs to be just and cannot, therefore, be solely for recapturing things taken or punishing people who have done wrong; innocent life must be in imminent danger and intervention must be to protect life. A contemporary view of just cause was expressed in 1993 when the US Catholic Conference said: "Force may be used only to correct a grave, public evil, i.e., aggression or massive violation of the basic human rights of whole populations."

===''Jus in bello''===
Once war has begun, just war theory (''jus in bello'') also directs how [[combatant]]s are to act or should act:

;[[Distinction (law)|Distinction]]: Just war conduct should be governed by the principle of distinction. The acts of war should be directed towards enemy combatants, and not towards [[non-combatant]]s caught in circumstances that they did not create. The prohibited acts include bombing civilian residential areas that include no [[legitimate military target]]s, committing acts of [[terrorism]] or [[reprisal]] against civilians or prisoners of war (POWs), and attacking [[Neutrality (international relations)|neutral]] targets. Moreover, combatants are not permitted to attack enemy combatants who have surrendered, or who have been captured, or who are injured and not presenting an immediate lethal threat, or who are [[attacks on parachutists|parachuting from disabled aircraft]] and are not [[airborne forces]], or who are [[shipwreck]]ed.
;[[Proportionality (law)#International law|Proportionality]]: Just war conduct should be governed by the principle of proportionality. Combatants must make sure that the harm caused to civilians or civilian property is not excessive in relation to the concrete and direct military advantage anticipated by an attack on a [[legitimate military target|legitimate military objective]]. This principle is meant to discern the correct balance between the restriction imposed by a corrective measure and the severity of the nature of the prohibited act.
;[[Military necessity]]: Just war conduct should be governed by the principle of military necessity. An attack or action must be intended to help in the defeat of the enemy; it must be an attack on a [[legitimate military target|legitimate military objective]], and the harm caused to civilians or civilian property must be proportional and not excessive in relation to the concrete and direct military advantage anticipated. This principle is meant to limit excessive and unnecessary death and destruction.
;Fair treatment of [[prisoners of war]]: Enemy combatants who surrendered or who are captured no longer pose a threat. It is therefore wrong to torture them or otherwise mistreat them.
;No means [[malum in se]]: Combatants may not use weapons or other methods of warfare that are considered evil, such as [[mass rape]], forcing enemy combatants to fight against their own side or using weapons whose effects cannot be controlled (e.g., [[nuclear weapon|nuclear]]/[[biological weapons]]).

===Ending a war: ''Jus post bellum''===
In recent years, some theorists, such as Gary Bass, Louis Iasiello and Brian Orend, have proposed a third category within the just war theory. "[[Jus post bellum]] is described by some scholars as a new “discipline,” or as “a new category of international law currently under construction".<ref>{{Cite web |last=Brabandere |first=Eric De |date=February 2014 |title=7 The Concept of Jus Post Bellum in International Law: A Normative Critique |url=https://academic.oup.com/book/25936/chapter/193705796 |access-date=September 20, 2024 |website=Oxford Academic}}</ref> ''Jus post bellum'' concerns justice after a war, including peace treaties, reconstruction, environmental remediation, war crimes trials, and war reparations. ''Jus post bellum'' has been added to deal with the fact that some hostile actions may take place outside a traditional battlefield. ''Jus post bellum'' governs the justice of war termination and peace agreements, as well as the prosecution of war criminals, and publicly labelled terrorists. The idea has largely been added to help decide what to do if there are prisoners that have been taken during battle. It is, through government labelling and public opinion, that people use ''jus post bellum'' to justify the pursuit of labelled terrorist for the safety of the government's state in a modern context. The actual fault lies with the aggressor and so by being the aggressor, they forfeit their rights for honourable treatment by their actions. That theory is used to justify the actions taken by anyone fighting in a war to treat prisoners outside of war.<ref>{{cite book|title=Studies in Moral philosophy: Just War Theory|date=October 2012|publisher=Brill|isbn=978-9004228504 |page=187 | author1= Thom Brooks}}</ref><ref>{{cite book|title=Justice after War: Jus Post Bellum in the 21st Century|date=May 2023|publisher=Catholic University of American Press|isbn=978-0813236513 | author1= David Kwon}}</ref>

==See also==
* [[Appeasement]]
* [[Christian pacifism]]
* [[Cost–benefit analysis]]
* [[Democratic peace theory]]
* [[Deterrence theory]]
* [[Peace and conflict studies]]
* [[Right of conquest]]
* [[Moral equality of combatants]]

==References==
{{Reflist}}

{{Further reading cleanup|date=April 2024}}
==Further reading==
* Benson, Richard. [https://web.archive.org/web/20070928075431/http://www.the-tidings.com/2006/0825/benson.htm "The Just War Theory: A Traditional Catholic Moral View"], ''[[The Tidings (newspaper)|The Tidings]]'' (2006). Showing the Catholic view in three points, including [[John Paul II]]'s position concerning war.
* Blattberg, Charles. ''[https://ssrn.com/abstract=1723423 Taking War Seriously]''. A critique of just war theory.
* Brough, Michael W., John W. Lango, Harry van der Linden, eds., ''Rethinking the Just War Tradition'' (Albany, NY: [[SUNY Press]], 2007). Discusses the contemporary relevance of just war theory. Offers an annotated bibliography of current writings on just war theory.
* Brunsletter, D., & D. O'Driscoll, ''Just war thinkers from Cicero to the 21st century'' (Routledge, 2017).
* {{Cite journal |volume=50 |journal=[[UCLA Law Review]] |page=721|date=2002–2003 |title=By Any Means Necessary: Using Violence and Subversion to Change Unjust Law |author=Butler, Paul |url=http://heinonlinebackup.com/hol-cgi-bin/get_pdf.cgi?handle=hein.journals/uclalr50&section=40 |url-access=subscription |author-link=Paul Butler (professor) |via=HeinOnline}}
* Churchman, David. ''Why we fight: the origins, nature, and management of human conflict'' (University Press of America, 2013) [https://books.google.com/books?id=6nmXtBQxfSwC&dq=Churchman,+D.+(2013).+Just+war+in+eight+cultures.+Why+we+fight:+Origins,+nature,+and+management+of+human+conflict.+Lanham:+University+Press+of+America.&pg=PR5 online].
* Crawford, Neta. "Just War Theory and the US Countertenor War", ''Perspectives on Politics'' 1(1), 2003. [https://msuweb.montclair.edu/~lebelp/CrawfordJustWarTheoryOnTerror.pdf online]
* Elshtain, Jean Bethke, ed. ''Just war theory'' (NYU Press, 1992) [https://books.google.com/books?id=ygMVCgAAQBAJ&dq=Elshtain,+J.+(1992).+Just+war+theory.+New+York:+NYU.&pg=PP9 online].
* Evans, Mark (editor) ''Just War Theory: A Reappraisal'' ([[Edinburgh University Press]], 2005)
* [[Nick Fotion|Fotion, Nicholas]]. ''War and Ethics'' (London, New York: [[Continuum International Publishing Group|Continuum]], 2007). {{ISBN|0-8264-9260-6}}. A defence of an updated form of just war theory.
* [[Max Heindel|Heindel, Max]]. ''The Rosicrucian Philosophy in Questions and Answers – Volume II'' ([http://www.rosicrucian.com/2qa/2qaeng09.htm#question163 The Philosophy of War], ''World War I reference'', ed. 1918), {{ISBN|0-911274-90-1}} (Describing a philosophy of war and just war concepts from the point of view of his [[Rosicrucian Fellowship]])
* Gutbrod, Hans. ''Russia's Recent Invasion of Ukraine and Just War Theory'' ([https://globalpolicyjournal.com/blog/21/03/2022/russias-recent-invasion-ukraine-just-war-perspective "Global Policy Journal"], March 2022); applies the concept to Russia's February 2022 invasion of Ukraine.
* [[Robert L. Holmes|Holmes, Robert L.]] ''On War and Morality'' (Princeton University Press, 1989.<ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=TBoABAAAQBAJ&q=Robert+L.+Holms |title=On War and Morality |date=14 July 2014 |publisher=Princeton University Press |isbn=978-1-4008-6014-2}}</ref>
* Khawaja, Irfan. Review of Larry May, ''War Crimes and Just War'', in ''[[Democratiya]]'' 10, ([https://web.archive.org/web/20071214041110/http://www.democratiya.com/review.asp?reviews_id=124]), an extended critique of just war theory.
* Kwon, David. ''Justice after War: Jus Post Bellum in the 21st Century'' (Washington, D.C., Catholic University of America Press, 2023). {{ISBN|978-0-813236-51-3}}
* MacDonald, David Roberts. ''Padre E. C. Crosse and 'the Devonshire Epitaph': The Astonishing Story of One Man at the Battle of the Somme (with Antecedents to Today's 'Just War' Dialogue)'', 2007 [[Cloverdale Books]], South Bend. {{ISBN|978-1-929569-45-8}}
* McMahan, Jeff. "Just Cause for War," ''Ethics and International Affairs'', 2005.
* Nájera, Luna. "Myth and Prophecy in Juan Ginés de Sepúlveda's Crusading "Exhortación" {{Webarchive|url=https://web.archive.org/web/20110311124110/http://digitalcommons.asphs.net/bsphs/vol35/iss1/4/ |date=11 March 2011 }}, in ''Bulletin for Spanish and Portuguese Historical Studies'', 35:1 (2011). Discusses [[Juan Ginés de Sepúlveda|Sepúlveda]]'s theories of war in relation to the war against the Ottoman Turks.
* Nardin, Terry, ed. ''The ethics of war and peace: Religious and secular perspectives'' (Princeton University Press, 1998) [https://books.google.com/books?id=Gin-DwAAQBAJ&dq=Nardin,+T.+(Ed.).+(1996).+The+ethics+of+war+and+peace.+Princeton:+Princeton.&pg=PP7 online]
* [[Oliver O'Donovan|O'Donovan, Oliver]]. ''The Just War Revisited'' (Cambridge: Cambridge University Press, 2003).
* Steinhoff, Uwe. ''On the Ethics of War and Terrorism'' (Oxford, Oxford University Press, 2007). Covers the basics and some of the most controversial current debates.
* [[Michael Walzer|Walzer, Michael]]. ''Arguing about War'', (Yale University Press, 2004). {{ISBN|978-0-300-10978-8}}

==External links==
* {{cite IEP |url-id=justwar |title=Just war theory}}
* [http://catholicism.org/catholic-teaching-just-war.html Catholic Teaching Concerning Just War] at Catholicism.org
* [http://www.bbc.co.uk/programmes/p00545jx "Just War"] ''In Our Time'', BBC Radio 4 discussion with John Keane and Niall Ferguson (3 June 1999)

{{Ethics}}
{{anti-war}}

{{Authority control}}

[[Category:Military ethics]]
[[Category:Catholic social teaching]]
[[Category:Catholic theology and doctrine]]
[[Category:Just war theory| ]]
[[Category:Thomas Aquinas]]
[[Category:Christianity and violence]]

Talk:Just war theory

2024-10-15T21:38:01Z

160.72.80.178: /* Restoration of links to Robert L. Holmes and Barry L. Gan */ new section

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== Person box misplaced ==
Removed <nowiki>{{Thomism}}</nowiki>-[[User:Inowen|Inowen]] ([[User talk:Inowen|nlfte]]) 23:00, 23 November 2018 (UTC)

== Yes, Globalization does involve just war theory ==
Even the [[globalization]] notes how it involves war. The absence of the words "just war theory" is a poor excuse to corrupt how globalization relates to war and thus the just war theory[[User:JoeScarce|JoeScarce]] ([[User talk:JoeScarce|talk]]) 21:12, 9 August 2019 (UTC)
:: Source what you mentioned does not say about just war, does not mention unjust war, no denouncing, not mentioning official position of church. This is just war theory article. Content is about that. You made a lot of personal conclusion on different articles and many of that isnt mentioned in that pope interview. It is just your personal conclusion. Wikipedia is not about personal conclusions and activism it is about facts. [[Special:Contributions/93.86.91.234|93.86.91.234]] ([[User talk:93.86.91.234|talk]]) 21:26, 9 August 2019 (UTC)
Your personal conclusion is very ridiculous.[[User:JoeScarce|JoeScarce]] ([[User talk:JoeScarce|talk]]) 21:28, 9 August 2019 (UTC)
: seems you dont get what theory is and what theory definition take and what content is. Advocacy or pov opinions, you should leave to own blog or twitter or something, not to wikipedia. Pushing own views can take you just to be blocked. [[Special:Contributions/93.86.91.234|93.86.91.234]] ([[User talk:93.86.91.234|talk]]) 21:33, 9 August 2019 (UTC)
Seems like your opinion is only laughable to me. Others seem to revert the bias deletions you made to some of my other edits on other articles as well. Let's work as team and follow the NPOV policy[[User:JoeScarce|JoeScarce]] ([[User talk:JoeScarce|talk]]) 21:46, 9 August 2019 (UTC)
::You cherrypicked stuff and made own conclusion and you cant make any argument at all.[[Special:Contributions/93.86.91.234|93.86.91.234]] ([[User talk:93.86.91.234|talk]]) 21:50, 9 August 2019 (UTC)
No, you can't make an argument at all and are making me laugh. It's the reason why you went to talk to someone with a Che Guevara poster, which also shows bias in me potentially getting blocked.[[User:JoeScarce|JoeScarce]] ([[User talk:JoeScarce|talk]]) 21:52, 9 August 2019 (UTC)
:: sorry but you dont play fair and you use wikipedia as promotional tool. I dont know what your motives are but it is just strange and funny.[[Special:Contributions/93.86.91.234|93.86.91.234]] ([[User talk:93.86.91.234|talk]]) 21:57, 9 August 2019 (UTC)
There is no correlation. So, no need to add that to this article [[User:Banovicmiki14|Banovicmiki14]] ([[User talk:Banovicmiki14|talk]]) 01:42, 13 August 2019 (UTC)
-----
{{re|JoeScarce}} The page was protected [[m:Wrong version|randomly]] on the version in which I found it at. Please don't cast [[WP:ASPERSIONS|aspersions]]. Stick to the material with the aim of demonstrating that your edit does not, in fact, constitute [[WP:NOR|original research]] or [[WP:SYNTH|synthesis]]. Which may well be the case. Avoid personal comments, at any case. Thanks. [[User:El_C|El_C]] 21:59, 9 August 2019 (UTC)

== Ancient Egypt ==

The paragraph on Egypt doesn't make sense. The point of the just war theory is to establish the absolute limits to availability of war for any politician. The paragraph basically describes that Egyptians were so imperialist (to use the modern terminology) and jingoistic, that basically any conquest of the surrounding nations was justified as “white man’s burden” of the Ancient times, i.e., that there were basically no limits, even theoretical ones, for Egyptian pharao to conduct a war at will. [[User:Ceplm|Ceplm]] ([[User talk:Ceplm|talk]]) 21:20, 16 July 2021 (UTC)

== Other branches of Christianity ==

The part talking about Christian talks about Catholic Christianity and only adds the Russian Orthodox Church as a subsection. The views written in the section are not universal among Christians. The New Testament and pacifism is not linked at all in this page which it should be in the section of Christianity. [[Special:Contributions/93.109.80.5|93.109.80.5]] ([[User talk:93.109.80.5|talk]]) 16:40, 1 April 2023 (UTC)
:[[Christian pacifism]] has its own article, but you should note that pacifist groups like the [[Anabaptists]] and the [[Christadelphians]] have had a rather minor impact on military history. [[User:Dimadick|Dimadick]] ([[User talk:Dimadick|talk]]) 08:16, 2 April 2023 (UTC)

==Wiki Education assignment: Human Security==
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== Restoration of links to [[Robert L. Holmes]] and [[Barry L. Gan]] ==

Ciao fellow Wikipedia editors: Just a quick note to explain the restoration of links to the professional philosphers [[Robert L. Holmes]] and [[ Barry L. Gan]] within additional text for the section '''Just War Traditiion''' which was deleted on several instances by User:2804:7f4:3d80:1554:d701:62fe:29ab:cc2d on March 15, 2024 and March 7, 2024. In both instances User:2804:7f4:3d80:1554:d701:62fe:29ab:cc2d cited the additional text as "undue weight" and "self promotional". These objections seem unjustified in so far as:
:1) The proposed text is included within a paragraph which already contains multiple links to several contemporary philosophers and scholars including: [[Jacques Maritain]], [[Elizabeth Anscombe]] and [[John Finnis]]. each of whom cited the principles contained with the '''Just War Tradition''' to render ethical justifications for the Spanish Civil War, World War II and the Cold War. None of these links are considered self-promotional within the context of the narrative. In addition, the texts and publications by Prof. Holmes and Prof. Gan are merely cited as references and are not explicitly mentioned or promoted by name or by title within the text itself.
:2) The links to the scholarly works by [[Robert L. Holmes]]and [[Barry L. Gan]] are actually relevant (and not "over weighted") to the section on '''Just War Tradition''' in so far as they demonstrate that in the post [[Cold War]] era, some philosophical scholars objected to simply continuing to judge warfare as a "mater of course" by adopting an appeal to classical "Just War Theory" maxims. Instead, these scholars questioned whether the ethical foundations of these ethical maxims retained any relevance within the context of modern forms of waging war. The references also serve to document the philosophical "weight" or importance of the contributions made by each of these professional scholars in so far as they are sourced from professional peer reviewed journals on JSTOR.ORG and are open for all to read from within the reference citations. <ref name=":0">{{Cite journal |last=Holmes |first=Robert L. |date=2015 |title=The Metaethics of Pacifism and Just War Theory |url=https://onlinelibrary.wiley.com/doi/abs/10.1111/phil.12052 |journal=The Philosophical Forum |volume=46 |pages=3–15 |doi=10.1111/phil.12052}}</ref><ref>{{Cite book |last=Matthews |first=Gareth B. |url=https://books.google.com/books?id=ky6itexKzWcC&q=%2522Robert+L.+Holmes%2522+-wikipedia |title=The Augustinian Tradition: "St. Augutine and the Just War Theory" |date=1999 |publisher=University of California Press |isbn=978-0-520-21001-1 |language=en}}</ref><ref>{{Cite book |last1=Holmes |first1=Robert L. |url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms |title=Nonviolence in Theory and Practice |last2=Gan |first2=Barry L. |date=2005 |publisher=Waveland Press |isbn=978-1-57766-349-2}}</ref><ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref>
I Hope that this helps to clarify the inclusion of these links into the paragraph. Thanks again for your thoughtful assistance and HAPPY EDITING! Respectfully, 21:38, 15 October 2024 (UTC)NHPL
{[reflist}} [[Special:Contributions/160.72.80.178|160.72.80.178]] ([[User talk:160.72.80.178|talk]]) 21:38, 15 October 2024 (UTC)

Just war theory

2024-10-15T20:53:37Z

160.72.80.178: Undid revision 1251348916 by 2804:7F4:3D80:1554:D701:62FE:29AB:CC2D (talk)''Undid deletion on March 15, 2024 by User:2804:7f4:3d80:1554:d701:62fe:29ab:cc2d ==t>the text is not promotional, Kindly see talk page. before deleting text again."~~~~NHPL

{{short description|Doctrine about when a war is ethically just}}
{{redirect|Just war|the 1996 science fiction novel|Just War (novel)}}
{{use dmy dates|date=July 2021}}
[[File:Gerard Seghers (attr) - The Four Doctors of the Western Church, Saint Augustine of Hippo (354–430).jpg|thumb|[[Augustine of Hippo|Saint Augustine]] was the first clear advocate of just-war theory.]]
{{war}}
The '''just war theory''' ({{lang-la|bellum iustum}})<ref>{{Cite book |last1=Cicero |first1=Marcus Tullius |url=http://archive.org/details/deofficiiswithen00ciceuoft |title=De officiis. With an English translation by Walter Miller |last2=Miller |first2=Walter |date=1913 |publisher=London Heinemann |others=Robarts - University of Toronto}}</ref><ref>{{Cite book |last1=Fellmeth |first1=Aaron X. |chapter=Bellum iustum |date=2009 |chapter-url=https://www.oxfordreference.com/view/10.1093/acref/9780195369380.001.0001/acref-9780195369380-e-285 |title=Guide to Latin in International Law |publisher=Oxford University Press |language=en |doi=10.1093/acref/9780195369380.001.0001 |isbn=978-0-19-536938-0 |access-date=2022-02-27 |last2=Horwitz |first2=Maurice}}</ref> is a [[doctrine]], also referred to as a tradition, of [[military ethics]] that aims to ensure that a war is morally justifiable through a series of [[#Criteria|criteria]], all of which must be met for a [[war]] to be considered just. It has been studied by military leaders, theologians, [[ethicist]]s and policymakers. The criteria are split into two groups: {{lang|la|[[#Jus ad bellum|jus ad bellum]]}} ("right to go to war") and {{lang|la|[[#Jus in bello|jus in bello]]}} ("right conduct in war"). The first group of criteria concerns the [[morality]] of going to war, and the second group of criteria concerns the moral conduct within war.<ref name="Tradition">{{cite book |last1=Guthrie |first1=Charles |last2=Quinlan |first2=Michael |year=2007 |title= Just War: The Just War Tradition: Ethics in Modern Warfare |isbn= 978-0747595571 |pages=11–15 |chapter=III: The Structure of the Tradition |publisher=Bloomsbury }}</ref> There have been calls for the inclusion of a third category of just war theory (''[[jus post bellum]]'') dealing with the morality of post-war settlement and reconstruction. The just war theory postulates the belief that war, while it is terrible but less so with the right conduct, is not always the worst option. The just war theory presents a justfiable means of war with justice being an objective of armed conflict.<ref>{{Cite book |last1=Andersen-Rodgers |first1=David |title=Human security: theory and action |last2=Crawford |first2=Kerry F. |date=2023 |publisher=Rowman & Littlefield |isbn=978-1-5381-5992-7 |edition=2nd |series=Peace and security in the 21st century |location=Lanham (Md.)}}</ref> Important responsibilities, undesirable outcomes, or preventable atrocities may justify war.<ref name="Tradition"/>

Opponents of the just war theory may either be inclined to a stricter [[Pacifism|pacifist]] standard (proposing that there has never been nor can there ever be a justifiable basis for war) or they may be inclined toward a more permissive [[Nationalism|nationalist]] standard (proposing that a war need only to serve a nation's interests to be justifiable). In many cases, [[Philosophy|philosophers]] state that individuals do not need to be plagued by a guilty conscience if they are required to fight. A few philosophers ennoble the virtues of the soldier while they also declare their apprehensions for war itself.<ref>{{Cite web|url=http://blogs.britannica.com/2010/03/william-james-on-peace-and-war/|title=William James on Peace and War|last=McHenry|first=Robert|date=22 March 2010|website=blogs.britannica.com|publisher=Britannica Blog|language=en-US|archive-url=https://web.archive.org/web/20151031190308/http://blogs.britannica.com/2010/03/william-james-on-peace-and-war/|archive-date=31 October 2015|url-status=dead|access-date=6 August 2017}}</ref> A few, such as [[Jean-Jacques Rousseau|Rousseau]], argue for insurrection against oppressive rule.

The historical aspect, or the "just war tradition", deals with the historical body of rules or agreements that have applied in various wars across the ages. The just war tradition also considers the writings of various philosophers and lawyers through history, and examines both their philosophical visions of war's ethical limits and whether their thoughts have contributed to the body of conventions that have evolved to guide war and warfare.<ref>{{Cite web|url=http://www.iep.utm.edu/justwar/|title=Just War Theory|website=Internet Encyclopedia of Philosophy|access-date=30 October 2016}}</ref>

In the [[21st century|twenty-first century]] there has been significant debate between traditional just war theorists, who largely support the existing [[law of war]] and develop arguments to support it, and [[revisionist just war theory|revisionists]] who reject many traditional assumptions, although not necessarily advocating a change in the law.<ref>{{cite journal |last1=Lazar |first1=Seth |title=Just War Theory: Revisionists Versus Traditionalists |journal=Annual Review of Political Science |date=2017 |volume=20 |issue=1 |pages=37–54 |doi=10.1146/annurev-polisci-060314-112706|doi-access=free }}</ref><ref>{{cite web |last1=Lazar |first1=Seth |title=War |url=https://plato.stanford.edu/entries/war/#TradRevi |website=The Stanford Encyclopedia of Philosophy |publisher=Metaphysics Research Lab, Stanford University |access-date=13 June 2023 |date=2020}}</ref>

==Origins==
===Ancient Egypt===
A 2017 study found that the just war tradition can be traced as far back as to [[Ancient Egypt]].<ref name="cox">{{Cite journal|last=Cox|first=Rory|title=Expanding the History of the Just War: The Ethics of War in Ancient Egypt|journal=International Studies Quarterly|volume=61|issue=2|page=371|doi=10.1093/isq/sqx009|year=2017|hdl=10023/17848|hdl-access=free}}</ref> Egyptian ethics of war usually centered on three main ideas, these including the cosmological role of Egypt, the pharaoh as a divine office and executor of the will of the gods, and the superiority of the Egyptian state and population over all other states and peoples. Egyptian political theology held that the pharaoh had the exclusive legitimacy in justly initiating a war, usually claimed to carry out the will of the gods. [[Senusret I]], in the [[Twelfth Dynasty]], claimed, "I was nursed to be a conqueror...his [Atum's] son and his protector, he gave me to conquer what he conquered." Later pharaohs also considered their sonship of the god Amun-Re as granting them absolute ability to declare war on the deity's behalf. Pharaohs often visited temples prior to initiating campaigns, where the pharaoh was believed to receive their commands of war from the deities. For example, [[Kamose]] claimed that "I went north because I was strong (enough) to attack the Asiatics through the command of Amon, the just of counsels." A [[stele]] erected by [[Thutmose III]] at the Temple of Amun at [[Karnak]] "provides an unequivocal statement of the pharaoh's divine mandate to wage war on his enemies." As the period of the [[New Kingdom of Egypt|New Kingdom]] progressed and Egypt heightened its territorial ambition, so did the invocation of just war aid the justification of these efforts. The universal principle of [[Maat]], signifying order and justice, was central to the Egyptian notion of just war and its ability to guarantee Egypt virtually no limits on what it could take, do, or use to guarantee the ambitions of the state.<ref name="cox" />

===India===
The Indian [[Hinduism|Hindu]] [[Indian epic poetry|epic]], the ''[[Mahabharata]]'', offers the first written discussions of a "just war" (''[[dharma-yuddha]]'' or "righteous war"). In it, one of five ruling brothers (''[[Pandava]]s'') asks if the suffering caused by war can ever be justified. A long discussion then ensues between the siblings, establishing criteria like ''proportionality'' ([[Ratha|chariots]] cannot attack cavalry, only other chariots; no attacking people in distress), ''just means'' (no poisoned or barbed arrows), ''just cause'' (no attacking out of rage), and fair treatment of captives and the wounded.<ref>{{cite book |author1=Paul Robinson |title=Just War in Comparative Perspective |year=2017 |isbn=9781351924528 |page=|publisher=Routledge }}</ref>

In [[Sikhism]], the term ''[[Dharamyudh (Sikhism)|dharamyudh]]'' describes a war that is fought for just, righteous or religious reasons, especially in defence of one's own beliefs. Though some core tenets in the Sikh religion are understood to emphasise peace and nonviolence, especially before the 1606 execution of [[Guru Arjan]] by [[Mughal Empire|Mughal]] Emperor [[Jahangir]],<ref name="Syan">{{Cite book |last=Syan |first=Hardip Singh |url=https://books.google.com/books?id=9RzzxcEL4C0C&pg=PA3 |title=Sikh Militancy in the Seventeenth Century: Religious Violence in Mughal and Early Modern India |date=2013 |publisher=I.B.Tauris |isbn=9781780762500 |location=London & New York |pages=3–4, 252 |access-date=15 September 2019}}</ref> military force may be justified if all peaceful means to settle a conflict have been exhausted, thus resulting in a ''dharamyudh''.<ref name="Fenech">{{Cite book |author1=Louis E. Fenech |title=Historical Dictionary of Sikhism |author2=W. H. McLeod |date=2014 |publisher=Rowman & Littlefield |isbn=9781442236011 |pages=99–100}}</ref>

===East Asian===
[[Chinese philosophy]] produced a massive body of work on warfare, much of it during the [[Zhou dynasty]], especially the [[Warring States era]]. War was justified only as a last resort and only by the rightful sovereign; however, questioning the decision of the emperor concerning the necessity of a military action was not permissible. The success of a military campaign was sufficient proof that the campaign had been righteous.<ref>{{Cite journal | url=https://irstudies.org/index.php/jirs/article/view/777/753| title= A Confucian Contribution to the Catholic Just War Tradition| journal=Journal of Interreligious Studies | date=2023 | author= Kwon, David}}</ref>

[[Japan]] did not develop its own doctrine of just war but between the 5th and the 7th centuries drew heavily from Chinese philosophy, and especially [[Confucianism|Confucian]] views. As part of the Japanese campaign to take the northeastern island [[Honshu]], Japanese military action was portrayed as an effort to "pacify" the [[Emishi]] people, who were likened to "bandits" and "wild-hearted wolf cubs" and accused of invading Japan's frontier lands.<ref name="routledge2004">{{cite book|url=https://books.google.com/books?id=DROBAV-DQ9IC&pg=PA20|title=Samurai, Warfare and the State in Early Medieval Japan|first=Karl F.|last=Friday |author1-link=Karl Friday |publisher=Routledge | date=2004 |pages=21–22|isbn=9781134330225}}</ref>

===Ancient Greece and Rome===
The notion of just war in Europe originates and is developed first in [[ancient Greece]] and then in the [[Roman Empire]].<ref>Gregory Raymond, ''The Greco-Roman Roots of the Western Just War Tradition'', Routledge 2010.</ref><ref>Rory Cox, "The Ethics of War up to Thomas Aquinas" in (eds. Lazar & Frowe) ''The Oxford Handbook of Ethics of War'', Oxford 2018.</ref><ref>Cian O'Driscoll, "Rewriting the Just War Tradition: Just War in Classical Greek Political Thought and Practice," International Studies Quarterly (2015).</ref>

It was [[Aristotle]] who first introduced the concept and terminology to the [[Hellenic world]] that called war a last resort requiring conduct that would allow the restoration of peace. Aristotle argues that the cultivation of a military is necessary and good for the purpose of self-defense, not for conquering: "The proper object of practising military training is not in order that men may enslave those who do not deserve slavery, but in order that first they may themselves avoid becoming enslaved to others" ([[Politics (Aristotle)|Politics]], Book 7).<ref>{{cite web |last1=Aristotle |title=Politics, Book 7 |url=http://www.perseus.tufts.edu/hopper/text?doc=Perseus:abo:tlg,0086,035:7 |website=Perseus Digital Library}}</ref>

In [[ancient Rome]], a "just cause" for war might include the necessity of repelling an invasion, or retaliation for pillaging or a breach of treaty.<ref>Livy 9.1.10; [[Cicero]], ''[[Divinatio in Caecilium]]'' 63; ''De provinciis consularibus'' 4; ''Ad Atticum'' VII 14, 3; IX 19, 1; ''Pro rege Deiotauro'' 13; ''[[De officiis]]'' I 36; ''Philippicae'' XI 37; XIII 35; ''De re publica'' II 31; III 35; [[Isidore of Seville]], ''Origines'' XVIII 1, 2; [[Modestinus]], ''Libro I regolarum'' = ''[[Corpus Juris Civilis|Digesta]]'' I 3, 40; [[E. Badian]], ''Roman Imperialism in the Late Republic'' (Ithaca 1968, 2nd ed.), p.11.</ref> War was always potentially ''[[nefas]]'' ("wrong, forbidden"), and risked [[Religion in ancient Rome|religious pollution and divine disfavor]].<ref>[[William Warde Fowler]], ''The Roman Festivals of the Period of the Republic'' (London 1925), pp. 33ff.; M. Kaser, ''Das altroemische Ius'' (Goettingen 1949), pp. 22ff; P. Catalano, ''Linee del sistema sovrannazionale romano'' (Torino 1965), pp. 14ff.; W. V. Harris, ''War and imperialism in Republican Rome, 327-70 B.C.'' (Oxford 1979), pp. 161 ff.</ref> A "just war" (''bellum iustum'') thus required a ritualized [[declaration of war|declaration]] by the [[fetial]] priests.<ref>[[Livy]] 1.32; 31.8.3; 36.3.9</ref> More broadly, conventions of war and treaty-making were part of the ''[[ius gentium]]'', the "law of nations", the customary moral obligations regarded as innate and universal to human beings.<ref>Cicero, ''De officiis'' 3.17.69; [[Marcia L. Colish]], ''The Stoic Tradition from Antiquity to the Early Middle Ages'' (Brill, 1980), p. 150.</ref>

===Christian views===
Christian theory of the Just War begins around the time of [[Augustine of Hippo]]<ref>[http://olympia.anglican.org/churches/B/stdunstan/Beliefs/Christians_War/Christians_War_2.htm Christians and War: Augustine of Hippo and the "Just War theory"] {{webarchive |url=https://web.archive.org/web/20061128152303/http://olympia.anglican.org/churches/B/stdunstan/Beliefs/Christians_War/Christians_War_2.htm |date=28 November 2006 }}</ref> The Just War theory, with some amendments, is still used by
Christians today as a guide to whether or not a war can be justified. Christians may argue "Sometimes war may be necessary and right, even though it may not be good." In the case of a country that has been invaded by an occupying force, war may be the only way to restore justice. <ref>{{cite web |date=27 September 2024 |title=Forgiveness What is a Just War? |url=https://www.bbc.co.uk/bitesize/guides/z2b36yc/revision/4 |url-status=dead |archive-url=https://www.bbc.co.uk/bitesize/guides/zbygjxs/revision/5 |archive-date=27 September 2024 |access-date=11 May 2020 |website=Bitesize |publisher=[[BBC]]}}</ref>

====Saint Augustine====
[[Saint Augustine]] held that individuals should not resort immediately to violence, but God has given the sword to government for a good reason (based upon Romans 13:4). In ''Contra Faustum Manichaeum'' book 22 sections 69–76, Augustine argues that Christians, as part of a government, need not be ashamed of protecting peace and punishing wickedness when they are forced to do so by a government. Augustine asserted that was a personal and philosophical stance: "What is here required is not a bodily action, but an inward disposition. The sacred seat of virtue is the heart."<ref>{{cite web|url=http://www.christianitytoday.com/ct/2001/septemberweb-only/9-17-55.0.html|title=A Time For War?|author=Robert L. Holmes|work=ChristianityToday.com|date=September 2001 |access-date=25 April 2015}}</ref>

Nonetheless, he asserted, peacefulness in the face of a grave wrong that could be stopped by only violence would be a sin. Defense of oneself or others could be a necessity, especially when it is authorized by a legitimate authority:<blockquote>They who have waged war in obedience to the divine command, or in conformity with His laws, have represented in their persons the public justice or the wisdom of government, and in this capacity have put to death wicked men; such persons have by no means violated the commandment, "Thou shalt not kill."<ref name=":0b">{{cite web|url=http://etext.lib.virginia.edu/etcbin/toccer-new2?id=AugCity.xml&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=all |archive-url=https://web.archive.org/web/20130725190746/http://etext.lib.virginia.edu/etcbin/toccer-new2?id=AugCity.xml&images=images%2Fmodeng&data=%2Ftexts%2Fenglish%2Fmodeng%2Fparsed&tag=public&part=all |title=City of God |archive-date=25 July 2013 |access-date=25 April 2015 |url-status=dead }}</ref></blockquote>While not breaking down the conditions necessary for war to be just, Augustine nonetheless originated the very phrase itself in his work [[City of God (book)|''The City of God'']]:

<blockquote>But, say they, the wise man will wage Just Wars. As if he would not all the rather lament the necessity of just wars, if he remembers that he is a man; for if they were not just he would not wage them, and would therefore be delivered from all wars.<ref name=":0b"/></blockquote>

Augustine further taught:
<blockquote>No war is undertaken by a good state except on behalf of good faith or for safety.<ref >City of God, 22.6, quoted in {{cite web |last1=Lockwood |first1=Thornton |title=Cicero's Philosophy of Just War |url=https://philarchive.org/archive/LOCCPO |website=PhilArchive |access-date=28 July 2023}} The text seems from a missing fragment of [[Cicero]]'s dialog [[On the Republic]], by the Laelius character.</ref></blockquote>

J. Mark Mattox writes,<blockquote>In terms of the traditional notion of jus ad bellum (justice of war, that is, the circumstances in which wars can be justly fought), war is a coping mechanism for righteous sovereigns who would ensure that their violent international encounters are minimal, a reflection of the [[Will of God|Divine Will]] to the greatest extent possible, and always justified. In terms of the traditional notion of jus in bello (justice in war, or the moral considerations which ought to constrain the use of violence in war), war is a coping mechanism for righteous combatants who, by divine edict, have no choice but to subject themselves to their political masters and seek to ensure that they execute their war-fighting duty as justly as possible.<ref name="augustine_war_and_peace_just_war">[http://www.iep.utm.edu/aug-poso/#SH3c Augustine: Political and Social Philosophy], §3-c "War and Peace – The Just War"</ref></blockquote>

====Isidore of Seville====
[[Isidore of Seville]] writes:
<blockquote>Those wars are unjust which are undertaken without cause. For aside from vengeance or to fight off enemies no just war can be waged. <ref >Etymologies 18.1.2-3, quoted in {{cite web |last1=Lockwood |first1=Thornton |title=Cicero's Philosophy of Just War |url=https://philarchive.org/archive/LOCCPO |website=PhilArchive |access-date=28 July 2023}}. The text seems from a missing fragment of [[Cicero]]'s dialog [[On the Republic]], by the Laelius character.</ref></blockquote>

====Peace and Truce of God====
{{Main|Peace and Truce of God}}
The medieval [[Peace_and_Truce_of_God#Peace_of_God|Peace of God]] (Latin: {{lang|la|pax dei}}) was a 10th century mass movement in Western Europe instigated by the clergy that granted immunity from violence for non-combatants.

Starting in the 11th Century, the [[Peace_and_Truce_of_God#Truce_of_God|Truce of God]] (Latin: {{lang|la|treuga dei}}) involved Church rules that successfully limited when and where fighting could occur: Catholic forces (e.g. of warring [[baron]]s) could not fight each other on Sundays, Thursdays, holidays, the entirety of [[Lent]] and [[Advent]] and other times, severely disrupting the conduct of wars. The 1179 [[Third Council of the Lateran]] adopted a version of it for the whole church.

====Saint Thomas Aquinas====
{{See|Thomas Aquinas#Just war}}

The just war theory by [[Thomas Aquinas]] has had a lasting impact on later generations of thinkers and was part of an emerging consensus in [[Medieval Europe]] on just war.<ref name=":1">{{Cite book|title=Thomas Aquinas on War and Peace|author=Gregory M. Reichberg|publisher=Cambridge University Press|year=2017|isbn=9781107019904|page=viii}}</ref> In the 13th century Aquinas reflected in detail on peace and war. Aquinas was a [[Dominican friar]] and contemplated the teachings of the Bible on peace and war in combination with ideas from [[Aristotle]], [[Plato]], [[Socrates]], [[Saint Augustine]] and other philosophers whose writings are part of the [[Western canon]]. Aquinas' views on war drew heavily on the {{lang|la|[[Decretum Gratiani]]}}, a book the Italian monk Gratian had compiled with passages from the Bible. After its publication in the 12th century, the {{lang|la|Decretum Gratiani}} had been republished with commentary from [[Pope Innocent IV]] and the Dominican friar [[Raymond of Penafort]]. Other significant influences on Aquinas just war theory were [[Alexander of Hales]] and [[Henry of Segusio]].<ref>{{Cite book|title=Thomas Aquinas on War and Peace|author=Gregory M. Reichberg|publisher=Cambridge University Press|year=2017|isbn=9781107019904|page=vii}}</ref>

In ''[[Summa Theologica]]'' Aquinas asserted that it is not always a [[sin]] to wage war, and he set out criteria for a just war. According to Aquinas, three requirements must be met. Firstly, the war must be waged upon the command of a rightful [[sovereign]]. Secondly, the war needs to be waged for just cause, on account of some wrong the attacked have committed. Thirdly, warriors must have the right intent, namely to promote good and to avoid evil.<ref>{{Cite book |last=Aquinas |first=Thomas |url=https://ccel.org/ccel/aquinas/summa/summa |title=Summa Theologica |publisher=Christian Classics Ethereal Library |pages=pt. II, sec. 2, q. 40, a. 1}}</ref><ref>{{Cite book|title=The Oxford Handbook of Ethics of War |editor=Seth Lazar |editor2=Helen Frowe|publisher=Oxford University Press|year=2018|isbn=9780199943418|page=114}}</ref> Aquinas came to the conclusion that a just war could be offensive and that injustice should not be tolerated so as to avoid war. Nevertheless, Aquinas argued that violence must only be used as a last resort. On the [[battlefield]], violence was only justified to the extent it was necessary. Soldiers needed to avoid cruelty and a just war was limited by the conduct of just combatants. Aquinas argued that it was only in the pursuit of justice, that the good intention of a moral act could justify negative consequences, including the killing of the innocent during a war.<ref>{{Cite book|title=The Oxford Handbook of Ethics of War |editor=Seth Lazar |editor2=Helen Frowe|publisher=Oxford University Press|year=2018|isbn=9780199943418|page=115}}</ref>

====Renaissance and Christian Humanists====
Various [[Renaissance humanists]] promoted [[Pacificist]] views.

* [[John Colet]] famously preached a Lenten sermon before Henry VIII, who was preparing for a war, quoting Cicero "Better an unjust peace rather than the justest war."<ref>{{cite journal |last1=MacKenzie |first1=Kathleen |title=John Colet of Oxford |journal=Dalhousie Review |volume=21 |issue=1 |pages=15–28 |url=https://dalspace.library.dal.ca/bitstream/handle/10222/57562/dalrev_vol21_iss1_pp15_28.pdf?sequence=1&isAllowed=y |access-date=28 July 2023}}</ref>
* [[Erasmus of Rotterdam]] wrote numerous works on peace which criticized Just War theory as a smokescreen and added [[Erasmus#Pacifism|extra limitations]], notably ''The Complaint of Peace'' and the ''[https://www.gutenberg.org/files/39487/39487-h/39487-h.htm Treatise on War]'' (Dulce bellum inexpertis).

A leading humanist writer after the Reformation was legal theorist [[Hugo Grotius]], whose [[Hugo_Grotius#De_Jure_Belli_ac_Pacis|''De jura belli ac pacis'']] re-considered Just War and fighting wars justly.

==== First World War ====
At the beginning of the [[First World War]], a group of theologians in [[Germany]] published a manifesto that sought to justify the actions of the German government. At the British government's request, [[Randall Davidson]], [[Archbishop of Canterbury]], took the lead in collaborating with a large number of other religious leaders, including some with whom he had differed in the past, to write a rebuttal of the Germans' contentions. Both German and British theologians based themselves on the just war theory, each group seeking to prove that it applied to the war waged by its own side.<ref>Mews, Stuart. "Davidson, Randall Thomas, Baron Davidson of Lambeth (1848–1930), Archbishop of Canterbury", [[Oxford Dictionary of National Biography]], [[Oxford University Press]], 2011.</ref>

====Contemporary Catholic doctrine====
The just war doctrine of the [[Catholic Church]] found in the 1992 ''[[Catechism of the Catholic Church]]'', in paragraph 2309, lists four strict conditions for "legitimate defense by military force:"<ref>{{cite book|title=Catechism of the Catholic Church|edition=2|publisher=Liberia Editrice Vaticana|isbn=1574551108|url=https://archive.org/details/catechismofcatho2000cath|access-date=25 April 2015|year=2000|url-access=registration}}</ref><ref>{{cite web|title=Just-War Theory, Catholic Morality, And The Response To International Terrorism.
|url=https://www.catholicculture.org/culture/library/view.cfm?id=4644|access-date=11 May 2020}}</ref>
* The damage inflicted by the aggressor on the nation or community of nations must be lasting, grave and certain.
* All other means of putting an end to it must have been shown to be impractical or ineffective.
* There must be serious prospects of success.
* The use of arms must not produce evils and disorders graver than the evil to be eliminated.

The ''[[Compendium of the Social Doctrine of the Church]]'' elaborates on the just war doctrine in paragraphs 500 to 501, while citing the [[Charter of the United Nations]]:<ref name="compendio">{{cite web|url=https://www.vatican.va/roman_curia/pontifical_councils/justpeace/documents/rc_pc_justpeace_doc_20060526_compendio-dott-soc_en.html|title=Compendium of the Social Doctrine of the Church|access-date=10 April 2024}}</ref>

{{quotation|If this responsibility justifies the possession of sufficient means to exercise this right to defense, States still have the obligation to do everything possible "to ensure that the conditions of peace exist, not only within their own territory but throughout the world". It is important to remember that "it is one thing to wage a war of self-defense; it is quite another to seek to impose domination on another nation. The possession of war potential does not justify the use of force for political or military objectives. Nor does the mere fact that war has unfortunately broken out mean that all is fair between the warring parties".

''The Charter of the United Nations ... is based on a generalized prohibition of a recourse to force to resolve disputes between States, with the exception of two cases: legitimate defence and measures taken by the Security Council within the area of its responsibilities for maintaining peace.'' In every case, exercising the right to self-defence must respect "the traditional limits of necessity and proportionality".

''Therefore, engaging in a preventive war without clear proof that an attack is imminent cannot fail to raise serious moral and juridical questions.'' International legitimacy for the use of armed force, on the basis of rigorous assessment and with well-founded motivations, can only be given by the decision of a competent body that identifies specific situations as threats to peace and authorizes an intrusion into the sphere of autonomy usually reserved to a State.||''[[Compendium of the Social Doctrine of the Church]]''<ref name="compendio"/>}}

Pope [[John Paul II]] in an address to a group of soldiers said the following:<ref>{{Cite web|url=https://www.catholiceducation.org/en/culture/catholic-contributions/the-church-s-just-war-theory-part-1.html/|title=The Church's Just War Theory|last=Saunders|first=William|website=Catholic Education Resource Center|date=19 October 2000 |language=en-US|access-date=10 May 2020}}</ref> {{Blockquote|Peace, as taught by Sacred Scripture and the experience of men itself, is more than just the absence of war. And the Christian is aware that on earth a human society that is completely and always peaceful is, unfortunately, an utopia and that the ideologies which present it as easily attainable only nourish vain hopes. The cause of peace will not go forward by denying the possibility and the obligation to defend it.}}

====Russian Orthodox Church====
The ''War and Peace'' section in the ''Basis of the Social Concept of the Russian Orthodox Church'' is crucial for understanding the [[Russian Orthodox Church]]'s attitude towards war. The document offers criteria of distinguishing between an aggressive war, which is unacceptable, and a justified war, attributing the highest moral and sacred value of military acts of bravery to a true believer who participates in a justified war. Additionally, the document considers the just war criteria as developed in Western Christianity to be eligible for Russian Orthodoxy; therefore, the justified war theory in Western theology is also applicable to the Russian Orthodox Church.<ref>{{cite journal|doi=10.3390/rel11010002|doi-access=free|title='Militant Piety in 21st-Century Orthodox Christianity: Return to Classical Traditions or Formation of a New Theology of War?|year=2019|last1=Knorre|first1=Boris|last2=Zygmont|first2=Aleksei|journal=Religions|volume=11|page=2}} [[File:CC-BY icon.svg|50px]] Text was copied from this source, which is available under a [https://creativecommons.org/licenses/by/4.0/ Creative Commons Attribution 4.0 International License].</ref>

In the same document, it is stated that wars have accompanied human history since the [[fall of man]], and according to [[the gospel]], they will continue to accompany it. While recognizing war as evil, the Russian Orthodox Church does not prohibit its members from participating in hostilities if there is the security of their neighbours and the restoration of trampled justice at stake. War is considered to be necessary but undesirable. It is also stated that the Russian Orthodox Church has had profound respect for soldiers who gave their lives to protect the life and security of their neighbours.<ref>{{cite web|url=https://mospat.ru/en/documents/social-concepts/viii/|title=Social Concepts, Chapter VIII.|language=en-US|access-date=10 May 2020|archive-date=9 June 2020|archive-url=https://web.archive.org/web/20200609115628/https://mospat.ru/en/documents/social-concepts/viii/|url-status=dead}}</ref>

===Just war tradition===
The just war theory, propounded by the medieval Christian philosopher [[Thomas Aquinas]], was developed further by legal scholars in the context of [[international law]]. [[Cardinal Cajetan]], the jurist [[Francisco de Vitoria]], the two [[Jesuit priest]]s [[Luis de Molina]] and [[Francisco Suárez]], as well as the [[humanist]] [[Hugo Grotius]] and the lawyer [[Luigi Taparelli]] were most influential in the formation of a ''just war tradition''. The just war tradition, which was well established by the 19th century, found its practical application in the [[Hague Peace Conferences]] (1899 and 1907) and in the founding of the [[League of Nations]] in 1920. After the [[United States Congress]] declared war on Germany in 1917, Cardinal [[James Gibbons]] issued a letter that all Catholics were to support the war<ref name=NCR>{{cite news|title=Ben Salmon and the Army of Peace |url= http://ncronline.org/blogs/road-peace/ben-salmon-and-army-peace |newspaper=[[National Catholic Reporter]] |author= John Dear |date= 23 February 2010}}</ref> because "Our Lord Jesus Christ does not stand for peace at any price... If by Pacifism is meant the teaching that the use of force is never justifiable, then, however well meant, it is mistaken, and it is hurtful to the life of our country."<ref>{{cite book|title= A History of the Parish of Trinity Church in the City of New York: The rectorship of Dr. William Thomas Manning 1908 to 1921|author=C. T. Bridgeman |year=1962|page=256}}</ref>

Armed conflicts such as the [[Spanish Civil War]], [[World War II]] and the [[Cold War]] were, as a matter of course, judged according to the norms (as established in Aquinas' just war theory) by philosophers such as [[Jacques Maritain]], [[Elizabeth Anscombe]] and [[John Finnis]].<ref name=":1" /> In the post cold war era, however, other scholars such as [[Robert L. Holmes]] and [[Barry L. Gan]] raised doubts concerning the continued suitability of "just war theory" norms in general.<ref name=":0">{{Cite journal |last=Holmes |first=Robert L. |date=2015 |title=The Metaethics of Pacifism and Just War Theory |url=https://onlinelibrary.wiley.com/doi/abs/10.1111/phil.12052 |journal=The Philosophical Forum |volume=46 |pages=3–15 |doi=10.1111/phil.12052}}</ref><ref>{{Cite book |last=Matthews |first=Gareth B. |url=https://books.google.com/books?id=ky6itexKzWcC&q=%2522Robert+L.+Holmes%2522+-wikipedia |title=The Augustinian Tradition: "St. Augutinr and the Just War Theory" |date=1999 |publisher=University of California Press |isbn=978-0-520-21001-1 |language=en}}</ref><ref>{{Cite book |last1=Holmes |first1=Robert L. |url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms |title=Nonviolence in Theory and Practice |last2=Gan |first2=Barry L. |date=2005 |publisher=Waveland Press |isbn=978-1-57766-349-2}}</ref><ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref>

The first work dedicated specifically to ''just war'' was the 15th-century sermon ''De bellis justis'' of [[Stanisław of Skarbimierz]] (1360–1431), who justified war by the [[Kingdom of Poland (1385–1569)|Kingdom of Poland]] against the [[Teutonic Knights]].<ref>{{Cite book |last=David |first=Saul |chapter-url= https://books.google.com/books?id=8Llw8JSZEXYC&dq=De+bellis+justis+Stanis%C5%82aw+of+Skarbimierz&pg=PA345 |title= The Encyclopedia of War from Ancient Egypt to Iraq |date=2009-10-01 |publisher=Dorling Kindersley Limited |isbn= 978-1-4053-4778-5 |pages= 345 |language= en |chapter= Ethics of War |author-link= Saul David}}</ref> [[Francisco de Vitoria]] criticized the conquest of America by the [[History of Spain|Spanish]] [[conquistador]]s on the basis of just-war theory.<ref>{{Cite journal| url= https://lawreview.avemarialaw.edu/wp-content/uploads/2019/06/AMLR.v.10i2.salas_.pdf| title= Francisco de Vitoria on the Ius Gentium and the American Indios| journal= Ave Maria Law Review| date= 2012| author= Victor M. Salas Jr.| access-date= 11 July 2022| archive-date= 9 December 2021| archive-url= https://web.archive.org/web/20211209150822/https://lawreview.avemarialaw.edu/wp-content/uploads/2019/06/AMLR.v.10i2.salas_.pdf| url-status= dead}}</ref> With [[Alberico Gentili]] and [[Hugo Grotius]], just war theory was replaced by [[international law]] theory, codified as a set of rules, which today still encompass the points commonly debated, with some modifications.<ref>[[Gutman]] R, Rieff D. ''[[Crimes of War]]: What the Public Should Know''. New York, NY: [[W. W. Norton & Company]]; 1999</ref>

Just-war theorists combine a moral abhorrence towards war with a readiness to accept that war may sometimes be necessary. The criteria of the just-war tradition act as an aid in determining whether resorting to arms is morally permissible. Just-war theories aim "to distinguish between justifiable and unjustifiable uses of organized armed forces"; they attempt "to conceive of how the use of arms might be restrained, made more humane, and ultimately directed towards the aim of establishing lasting peace and justice".<ref>{{cite web |url=http://www.justwartheory.com/ |title=JustWarTheory.com |publisher=JustWarTheory.com |access-date=16 March 2010 |archive-date=6 March 2019 |archive-url=https://web.archive.org/web/20190306044341/http://www.justwartheory.com/ |url-status=dead }}</ref>

The just war tradition addresses the morality of the use of force in two parts: when it is right to resort to armed force (the concern of ''[[jus ad bellum]]'') and what is acceptable in using such force (the concern of ''[[jus in bello]]'').<ref>{{cite web|url= http://www.eppc.org/publications/pubID.1998/pub_detail.asp |title= Home > Publications > |publisher= Eppc.org |date= 1 September 1998 |access-date= 16 March 2010 |url-status= dead |archive-url= https://web.archive.org/web/20090509230737/http://www.eppc.org/publications/pubID.1998/pub_detail.asp |archive-date=9 May 2009}}</ref>

In 1869 the Russian military theorist [[Genrikh Antonovich Leer]] theorized on the advantages and potential benefits of war.<ref>
{{cite book| author1 = Genrikh Antonovich Leer |title = Opyt kritiko-istoricheskogo issledovaniya zakonov isskusstva vedeniya voyny|script-title = ru:Опыт критико-исторического исследования законов искусства ведения войны |trans-title = Critico-historical research into the laws of the art of the conduct of war |publication-date = 1869 |page = 1ff | publisher=Рипол Классик |isbn = 9785458055901}} </ref>

The [[Soviet Union|Soviet]] leader [[Vladimir Lenin]] defined only three types of just war.<ref>{{cite web|title= Just Wars in the Light of Marxism|publisher=Marxists Internet Archive|first= Erich|last= Wollenberg|url= https://www.marxists.org/history/etol/newspape/ni/vol03/no01/wollenberg.htm}}</ref>

<blockquote>But picture to yourselves a slave-owner who owned 100 slaves warring against a slave-owner who owned 200 slaves for a more "just" distribution of slaves. Clearly, the application of the term "defensive" war, or war "for the defense of the fatherland" in such a case would be historically false, and in practice would be sheer deception of the common people, of philistines, of ignorant people, by the astute slaveowners. Precisely in this way are the present-day imperialist bourgeoisie deceiving the peoples by means of "national ideology" and the term "defense of the fatherland" in the present war between slave-owners for fortifying and strengthening slavery.<ref>{{cite web|title=Socialism and War, ch. 1|publisher=Marxists Internet Archive|first= Vladimir|last= Lenin |url= https://www.marxists.org/archive/lenin/works/1915/s-w/ch01.htm}}</ref></blockquote>

The [[anarcho-capitalist]] scholar [[Murray Rothbard]] (1926-1995) stated that "a ''just'' war exists when a people tries to ward off the threat of coercive domination by another people, or to overthrow an already-existing domination. A war is ''unjust'', on the other hand, when a people try to impose domination on another people or try to retain an already-existing coercive rule over them."<ref>{{cite web |url= https://www.lewrockwell.com/1970/01/murray-n-rothbard/whats-a-just-war/ |title=Just War |access-date=26 June 2019 |author=Murray N. Rothbard |website= lewrockwell.com}}</ref>

[[Jonathan Riley-Smith]] writes:
<blockquote>The consensus among Christians on the use of violence has changed radically since the crusades were fought. The just war theory prevailing for most of the last two centuries—that violence is an evil that can, in certain situations, be condoned as the lesser of evils—is relatively young. Although it has inherited some elements (the criteria of legitimate authority, just cause, right intention) from the older war theory that first evolved around AD 400, it has rejected two premises that underpinned all medieval just wars, including crusades: first, that violence could be employed on behalf of Christ's intentions for mankind and could even be directly authorized by him; and second, that it was a morally neutral force that drew whatever ethical coloring it had from the intentions of the perpetrators.<ref>{{cite web |title= Rethinking the Crusades |publisher= Catholic Education Resource Center |first=Jonathan R. |last=Smith |url= http://www.catholiceducation.org/articles/history/world/wh0042.html | url-status = dead | archive-url = https://web.archive.org/web/20010723130919/http://www.catholiceducation.org/articles/history/world/wh0042.html |archive-date=23 July 2001}}</ref>
</blockquote>

==Criteria==

The just war theory has two sets of criteria, the first establishing ''jus ad bellum'' (the right to go to war), and the second establishing ''jus in bello'' (right conduct within war).<ref name=Childress>{{Cite journal|author=Childress, James F.|title=Just-War Theories: The Bases, Interrelations, Priorities, and Functions of Their Criteria|journal=Theological Studies|volume=39|issue=3|year=1978|pages=427–445|author-link=James Childress|doi=10.1177/004056397803900302|s2cid=159493143}}</ref>

===''Jus ad bellum''===
{{Main|Jus ad bellum}}
;[[Competent authority]]: Only duly constituted public authorities may wage war. "A just war must be initiated by a political authority within a political system that allows distinctions of justice. Dictatorships (e.g. [[Adolf Hitler|Hitler]]'s regime) or deceptive military actions (e.g. the [[Operation Menu|1968 US bombing of Cambodia]]) are typically considered as violations of this criterion. The importance of this condition is key. Plainly, we cannot have a genuine process of judging a just war within a system that represses the process of genuine justice. A just war must be initiated by a political authority within a political system that allows distinctions of justice".<ref>{{cite web|url=http://oregonstate.edu/instruct/phl201/modules/just_war_theory/criteria_intro.html|title=Just War Theory|access-date=25 April 2015|archive-date=7 September 2013|archive-url=https://web.archive.org/web/20130907081045/http://oregonstate.edu/instruct/phl201/modules/just_war_theory/criteria_intro.html|url-status=dead}}</ref>
;Probability of success: According to this principle, there must be good grounds for concluding that aims of the just war are achievable.<ref name=Hubert&Weiss>Don Hubert and Thomas G. Weiss et al. "The Responsibility to Protect: Supplementary Volume to the Report of the International Commission on Intervention and State Sovereignty". (Canada: International Development Research Centre, 2001)</ref> This principle emphasizes that mass violence must not be undertaken if it is unlikely to secure the just cause.<ref name=SEP>{{Cite web
| title = War (Stanford Encyclopedia of Philosophy) | access-date = 2014-08-27| url = http://plato.stanford.edu/entries/war/#2.1 |website= plato.stanford.edu}}</ref> This criterion is to avoid invasion for invasion's sake and links to the proportionality criteria. One cannot invade if there is no chance of actually winning. However, wars are fought with imperfect knowledge, so one must simply be able to make a logical case that one can win; there is no way to know this in advance. These criteria move the conversation from moral and theoretical grounds to practical grounds.<ref>{{cite book|last=Seybolt|first=Taylor B.|title=Humanitarian Military Intervention: The Conditions for Success and Failure|date=January 2007|publisher=Oxford University Press|isbn=978-0-19-925243-5}}</ref> Essentially, this is meant to gather coalition building and win approval of other state actors.
;Last resort: The principle of last resort stipulates that all non-violent options must first be exhausted before the use of force can be justified. Diplomatic options, sanctions, and other non-military methods must be attempted or validly ruled out before the engagement of hostilities. Further, in regard to the amount of harm—proportionally—the principle of last resort would support using small intervention forces first and then escalating rather than starting a war with massive force such as [[carpet bombing]] or [[nuclear warfare]].<ref>{{cite web|title=Just War Theory and the Last of Last Resort - Ethics & International Affairs|url=https://www.ethicsandinternationalaffairs.org/2015/just-war-theory-last-last-resort/|website=Ethics & International Affairs|access-date=April 2, 2017|date=12 June 2015|archive-date=21 June 2015|archive-url=https://web.archive.org/web/20150621004346/https://www.ethicsandinternationalaffairs.org/2015/just-war-theory-last-last-resort/|url-status=dead}}</ref>
;Just cause: The reason for going to war needs to be just and cannot, therefore, be solely for recapturing things taken or punishing people who have done wrong; innocent life must be in imminent danger and intervention must be to protect life. A contemporary view of just cause was expressed in 1993 when the US Catholic Conference said: "Force may be used only to correct a grave, public evil, i.e., aggression or massive violation of the basic human rights of whole populations."

===''Jus in bello''===
Once war has begun, just war theory (''jus in bello'') also directs how [[combatant]]s are to act or should act:

;[[Distinction (law)|Distinction]]: Just war conduct should be governed by the principle of distinction. The acts of war should be directed towards enemy combatants, and not towards [[non-combatant]]s caught in circumstances that they did not create. The prohibited acts include bombing civilian residential areas that include no [[legitimate military target]]s, committing acts of [[terrorism]] or [[reprisal]] against civilians or prisoners of war (POWs), and attacking [[Neutrality (international relations)|neutral]] targets. Moreover, combatants are not permitted to attack enemy combatants who have surrendered, or who have been captured, or who are injured and not presenting an immediate lethal threat, or who are [[attacks on parachutists|parachuting from disabled aircraft]] and are not [[airborne forces]], or who are [[shipwreck]]ed.
;[[Proportionality (law)#International law|Proportionality]]: Just war conduct should be governed by the principle of proportionality. Combatants must make sure that the harm caused to civilians or civilian property is not excessive in relation to the concrete and direct military advantage anticipated by an attack on a [[legitimate military target|legitimate military objective]]. This principle is meant to discern the correct balance between the restriction imposed by a corrective measure and the severity of the nature of the prohibited act.
;[[Military necessity]]: Just war conduct should be governed by the principle of military necessity. An attack or action must be intended to help in the defeat of the enemy; it must be an attack on a [[legitimate military target|legitimate military objective]], and the harm caused to civilians or civilian property must be proportional and not excessive in relation to the concrete and direct military advantage anticipated. This principle is meant to limit excessive and unnecessary death and destruction.
;Fair treatment of [[prisoners of war]]: Enemy combatants who surrendered or who are captured no longer pose a threat. It is therefore wrong to torture them or otherwise mistreat them.
;No means [[malum in se]]: Combatants may not use weapons or other methods of warfare that are considered evil, such as [[mass rape]], forcing enemy combatants to fight against their own side or using weapons whose effects cannot be controlled (e.g., [[nuclear weapon|nuclear]]/[[biological weapons]]).

===Ending a war: ''Jus post bellum''===
In recent years, some theorists, such as Gary Bass, Louis Iasiello and Brian Orend, have proposed a third category within the just war theory. "[[Jus post bellum]] is described by some scholars as a new “discipline,” or as “a new category of international law currently under construction".<ref>{{Cite web |last=Brabandere |first=Eric De |date=February 2014 |title=7 The Concept of Jus Post Bellum in International Law: A Normative Critique |url=https://academic.oup.com/book/25936/chapter/193705796 |access-date=September 20, 2024 |website=Oxford Academic}}</ref> ''Jus post bellum'' concerns justice after a war, including peace treaties, reconstruction, environmental remediation, war crimes trials, and war reparations. ''Jus post bellum'' has been added to deal with the fact that some hostile actions may take place outside a traditional battlefield. ''Jus post bellum'' governs the justice of war termination and peace agreements, as well as the prosecution of war criminals, and publicly labelled terrorists. The idea has largely been added to help decide what to do if there are prisoners that have been taken during battle. It is, through government labelling and public opinion, that people use ''jus post bellum'' to justify the pursuit of labelled terrorist for the safety of the government's state in a modern context. The actual fault lies with the aggressor and so by being the aggressor, they forfeit their rights for honourable treatment by their actions. That theory is used to justify the actions taken by anyone fighting in a war to treat prisoners outside of war.<ref>{{cite book|title=Studies in Moral philosophy: Just War Theory|date=October 2012|publisher=Brill|isbn=978-9004228504 |page=187 | author1= Thom Brooks}}</ref><ref>{{cite book|title=Justice after War: Jus Post Bellum in the 21st Century|date=May 2023|publisher=Catholic University of American Press|isbn=978-0813236513 | author1= David Kwon}}</ref>

==See also==
* [[Appeasement]]
* [[Christian pacifism]]
* [[Cost–benefit analysis]]
* [[Democratic peace theory]]
* [[Deterrence theory]]
* [[Peace and conflict studies]]
* [[Right of conquest]]
* [[Moral equality of combatants]]

==References==
{{Reflist}}

{{Further reading cleanup|date=April 2024}}
==Further reading==
* Benson, Richard. [https://web.archive.org/web/20070928075431/http://www.the-tidings.com/2006/0825/benson.htm "The Just War Theory: A Traditional Catholic Moral View"], ''[[The Tidings (newspaper)|The Tidings]]'' (2006). Showing the Catholic view in three points, including [[John Paul II]]'s position concerning war.
* Blattberg, Charles. ''[https://ssrn.com/abstract=1723423 Taking War Seriously]''. A critique of just war theory.
* Brough, Michael W., John W. Lango, Harry van der Linden, eds., ''Rethinking the Just War Tradition'' (Albany, NY: [[SUNY Press]], 2007). Discusses the contemporary relevance of just war theory. Offers an annotated bibliography of current writings on just war theory.
* Brunsletter, D., & D. O'Driscoll, ''Just war thinkers from Cicero to the 21st century'' (Routledge, 2017).
* {{Cite journal |volume=50 |journal=[[UCLA Law Review]] |page=721|date=2002–2003 |title=By Any Means Necessary: Using Violence and Subversion to Change Unjust Law |author=Butler, Paul |url=http://heinonlinebackup.com/hol-cgi-bin/get_pdf.cgi?handle=hein.journals/uclalr50&section=40 |url-access=subscription |author-link=Paul Butler (professor) |via=HeinOnline}}
* Churchman, David. ''Why we fight: the origins, nature, and management of human conflict'' (University Press of America, 2013) [https://books.google.com/books?id=6nmXtBQxfSwC&dq=Churchman,+D.+(2013).+Just+war+in+eight+cultures.+Why+we+fight:+Origins,+nature,+and+management+of+human+conflict.+Lanham:+University+Press+of+America.&pg=PR5 online].
* Crawford, Neta. "Just War Theory and the US Countertenor War", ''Perspectives on Politics'' 1(1), 2003. [https://msuweb.montclair.edu/~lebelp/CrawfordJustWarTheoryOnTerror.pdf online]
* Elshtain, Jean Bethke, ed. ''Just war theory'' (NYU Press, 1992) [https://books.google.com/books?id=ygMVCgAAQBAJ&dq=Elshtain,+J.+(1992).+Just+war+theory.+New+York:+NYU.&pg=PP9 online].
* Evans, Mark (editor) ''Just War Theory: A Reappraisal'' ([[Edinburgh University Press]], 2005)
* [[Nick Fotion|Fotion, Nicholas]]. ''War and Ethics'' (London, New York: [[Continuum International Publishing Group|Continuum]], 2007). {{ISBN|0-8264-9260-6}}. A defence of an updated form of just war theory.
* [[Max Heindel|Heindel, Max]]. ''The Rosicrucian Philosophy in Questions and Answers – Volume II'' ([http://www.rosicrucian.com/2qa/2qaeng09.htm#question163 The Philosophy of War], ''World War I reference'', ed. 1918), {{ISBN|0-911274-90-1}} (Describing a philosophy of war and just war concepts from the point of view of his [[Rosicrucian Fellowship]])
* Gutbrod, Hans. ''Russia's Recent Invasion of Ukraine and Just War Theory'' ([https://globalpolicyjournal.com/blog/21/03/2022/russias-recent-invasion-ukraine-just-war-perspective "Global Policy Journal"], March 2022); applies the concept to Russia's February 2022 invasion of Ukraine.
* [[Robert L. Holmes|Holmes, Robert L.]] ''On War and Morality'' (Princeton University Press, 1989.<ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=TBoABAAAQBAJ&q=Robert+L.+Holms |title=On War and Morality |date=14 July 2014 |publisher=Princeton University Press |isbn=978-1-4008-6014-2}}</ref>
* Khawaja, Irfan. Review of Larry May, ''War Crimes and Just War'', in ''[[Democratiya]]'' 10, ([https://web.archive.org/web/20071214041110/http://www.democratiya.com/review.asp?reviews_id=124]), an extended critique of just war theory.
* Kwon, David. ''Justice after War: Jus Post Bellum in the 21st Century'' (Washington, D.C., Catholic University of America Press, 2023). {{ISBN|978-0-813236-51-3}}
* MacDonald, David Roberts. ''Padre E. C. Crosse and 'the Devonshire Epitaph': The Astonishing Story of One Man at the Battle of the Somme (with Antecedents to Today's 'Just War' Dialogue)'', 2007 [[Cloverdale Books]], South Bend. {{ISBN|978-1-929569-45-8}}
* McMahan, Jeff. "Just Cause for War," ''Ethics and International Affairs'', 2005.
* Nájera, Luna. "Myth and Prophecy in Juan Ginés de Sepúlveda's Crusading "Exhortación" {{Webarchive|url=https://web.archive.org/web/20110311124110/http://digitalcommons.asphs.net/bsphs/vol35/iss1/4/ |date=11 March 2011 }}, in ''Bulletin for Spanish and Portuguese Historical Studies'', 35:1 (2011). Discusses [[Juan Ginés de Sepúlveda|Sepúlveda]]'s theories of war in relation to the war against the Ottoman Turks.
* Nardin, Terry, ed. ''The ethics of war and peace: Religious and secular perspectives'' (Princeton University Press, 1998) [https://books.google.com/books?id=Gin-DwAAQBAJ&dq=Nardin,+T.+(Ed.).+(1996).+The+ethics+of+war+and+peace.+Princeton:+Princeton.&pg=PP7 online]
* [[Oliver O'Donovan|O'Donovan, Oliver]]. ''The Just War Revisited'' (Cambridge: Cambridge University Press, 2003).
* Steinhoff, Uwe. ''On the Ethics of War and Terrorism'' (Oxford, Oxford University Press, 2007). Covers the basics and some of the most controversial current debates.
* [[Michael Walzer|Walzer, Michael]]. ''Arguing about War'', (Yale University Press, 2004). {{ISBN|978-0-300-10978-8}}

==External links==
* {{cite IEP |url-id=justwar |title=Just war theory}}
* [http://catholicism.org/catholic-teaching-just-war.html Catholic Teaching Concerning Just War] at Catholicism.org
* [http://www.bbc.co.uk/programmes/p00545jx "Just War"] ''In Our Time'', BBC Radio 4 discussion with John Keane and Niall Ferguson (3 June 1999)

{{Ethics}}
{{anti-war}}

{{Authority control}}

[[Category:Military ethics]]
[[Category:Catholic social teaching]]
[[Category:Catholic theology and doctrine]]
[[Category:Just war theory| ]]
[[Category:Thomas Aquinas]]
[[Category:Christianity and violence]]

Peace

2024-10-15T20:44:47Z

160.72.80.178: Undid revision 1251368177 by 2804:7F4:3D80:1554:368C:B07F:89BB:CD72 (talk===>""Reverted edit as per talk page discussioni==the propsed text does not add undue weight. Kindly raise do not removed text without adding to the discussion on the talk page ''~~~~NHPL)

{{short description|Concept}}
{{Other uses}}
{{redirect|Peacetime|the album|Peacetime (album){{!}}''Peacetime'' (album)|the film|Peacetime (film){{!}}''Peacetime'' (film)}}
{{Use dmy dates|date=November 2019}}
[[File:Peace dove (3329620077).jpg|thumb|upright|[[Peace dove]] statue in [[Lomé]], [[Togo]], Africa. The [[dove]] and the [[olive branch]] are the most common symbols associated with peace.<ref>{{multiref2
|1={{cite web |title=UN Logo and Flag |url=https://www.un.org/en/sections/about-un/un-logo-and-flag/index.html |website=United Nations |access-date=10 December 2020 |archive-date=26 December 2020 |archive-url=https://web.archive.org/web/20201226052729/https://www.un.org/en/sections/about-un/un-logo-and-flag/index.html |url-status=dead }}
|2={{cite web |title=International Day of Peace 2020 Poster |url=https://www.un.org/sites/un2.un.org/files/idp-2020-poster-en-print-pro.pdf |website=UN.org |publisher=United Nations |access-date=10 December 2020 |archive-date=24 September 2020 |archive-url=https://web.archive.org/web/20200924224523/https://www.un.org/sites/un2.un.org/files/idp-2020-poster-en-print-pro.pdf |url-status=dead}} }}</ref>]]
[[File:Eiréné et Ploutos.JPG|thumb|upright|Statue of [[Eirene (goddess)|Eirene]], goddess of peace in ancient Greek religion, with the infant [[Plutus]]]]

'''Peace''' means [[society|societal]] [[friendship]] and harmony in the absence of hostility and violence. In a social sense, peace is commonly used to mean a lack of conflict (such as war) and freedom from fear of violence between individuals or groups.

"Psychological peace" (such as peaceful thinking and emotions) is less well-defined, yet perhaps a necessary precursor to establishing "behavioural peace". Peaceful behaviour sometimes results from a "peaceful inner disposition". It has been argued by some that inner qualities such as tranquility, patience, respect, compassion, kindness, self-control, courage, moderation, forgiveness, equanimity, and the ability to see the big picture can promote peace within an individual, regardless of the external circumstances of their life.<ref>{{Cite book |last=Galtung |first=Johan |title=Peace by Peaceful Means: Peace and Conflict, Development and Civilization |date=1996-07-31 |publisher=SAGE Publications Ltd |isbn=978-0-8039-7511-8 |edition=1st |location=Los Angeles |language=English}}</ref>

== Etymology ==
[[File:Beowulf - frithu sibb.jpg|thumb|Before the word 'peace' came into English lexicon, Anglo-Saxons used a phrase "{{lang|ang|friðu sibb}}" for "pledge of peace".]]
The term 'peace' originates from the Anglo-French {{lang|xno|pes}}, and the Old French {{lang|fro|pais}}, meaning "peace, reconciliation, silence, agreement" (11th century).<ref>{{cite web|website=Online Etymology Dictionary|url=https://www.etymonline.com/word/peace|title=peace|archive-url=https://web.archive.org/web/20131214011459/http://www.etymonline.com/index.php?term=peace&allowed_in_frame=0 |archive-date=14 December 2013 }}</ref> The Anglo-French term {{lang|xno|pes}} itself comes from the [[Latin]] {{lang|la|pax}}, meaning "peace, compact, agreement, treaty of peace, tranquility, absence of hostility, harmony."

The English word came into use in various personal greetings from {{circa|1300}} as a translation of the Hebrew word {{transliteration|he|[[shalom]]}}, which, according to Jewish theology, comes from a Hebrew verb meaning 'to be complete, whole'.<ref>{{cite web|last=Benner|first=Jeff|title=Ancient Hebrew Word Meanings: Peace ~ shalom|website=Ancient Hebrew Research centre|url=http://www.ancient-hebrew.org/27_peace.html|url-status=dead|archive-url=https://web.archive.org/web/20140426232655/http://www.ancient-hebrew.org/27_peace.html |archive-date=26 April 2014}}</ref> Although "peace" is the usual translation, it is an incomplete one, because {{transliteration|he|shalom}}, which is also cognate with the Arabic {{transliteration|ar|[[S-L-M|salaam]]}}, has multiple other meanings in addition to peace, including justice, good health, safety, well-being, prosperity, equity, security, good fortune, and friendliness, as well as simply the greetings, "hello" and "goodbye".<ref>{{Cite web|title=Peace Sign|url=https://innerpeacezone.com/peace_sign/|url-status=live|access-date=2021-12-17|website=Inner Peace Zone|date=28 August 2021|language=en-US|archive-date=20 September 2021|archive-url=https://web.archive.org/web/20210920213111/https://innerpeacezone.com/peace_sign/}}</ref>

On a personal level, peaceful behaviours are kind, considerate, respectful, just, and tolerant of others' beliefs and behaviors – tending to manifest goodwill. This understanding of peace can also pertain to an individual's introspective sense or concept of her/himself, as in being "at peace" in one's own mind, as found in European references from {{circa|1200}}. The early English term is also used in the sense of "quiet", reflecting calm, serene, and meditative approaches to family or group relationships that have an absence of quarreling, disturbances and agitation; but seek clarity of conversation, and tranquility.

In many languages, the word 'peace' is also used as a greeting or a farewell, for example the Hawaiian word {{lang|haw|[[aloha]]}}, as well as the Arabic word {{transliteration|ar|salaam}}. In English the word peace is occasionally used as a farewell, especially for the dead, as in the phrases "[[rest in peace]]" or "[[wikt:peace out|peace out]]".

== History ==
[[File:Kroisos BMC 31.jpg|right|thumb|upright=1.25|[[croeseid|Croeseid coin]] of [[Croesus]] ({{circa|{{BCE|550}}}}), depicting the Lion and Bull — partly symbolizing alliance between Lydia and Greece, respectively]]
Peace was forged through diplomacy in the form of royal marriages, both in the distant past and in modern times. Two early examples of royal marriages being used to establish diplomatic relations are [[Hermodike I]], who married the king of [[Phrygia]] around 800 BCE,<ref>{{cite book |title=The Cambridge Ancient History |publisher=Cambridge University Press |year=1997 |editor-last=Boederman |editor-first=John |page=832}}{{volume needed|date=August 2023}}</ref> and [[Hermodike II]], who married the king of [[Lydia]] around 600 BCE.<ref>{{cite book |last=Nilsson |first=Martin P. |title=Mycenaean Origin of Greek Mythology |publisher=Univ. of California Press |year=1983 |page=48}}</ref> Both marriages involved Greek princesses from the house of [[Agamemnon]] and kings from what is now Turkey.<ref>{{cite web|first=Amelia|last=Dowler|title=Gold coin of Croesus|website=A History of the World|url=https://www.bbc.co.uk/ahistoryoftheworld/objects/7cEz771FSeOLptGIElaquA|access-date=12 March 2019|archive-date=22 January 2010|archive-url=https://web.archive.org/web/20100122003748/http://www.bbc.co.uk/ahistoryoftheworld/objects/7cEz771FSeOLptGIElaquA|url-status=live}}</ref> The marriages between the Greek princesses and the kings of [[Phrygia]] and [[Lydia]] had a significant impact on the region, leading to the transfer of important technological innovations from [[Anatolia]] to [[Greece]]. In particular, the Phrygians introduced the Greek alphabet, while the Lydians pioneered the use of coinage as a form of currency. Both inventions were rapidly adopted by surrounding nations through further trade and cooperation.

Peace has not always been achieved through peaceful means; in many cases, it has been enforced by the victors of war, often through the use of violence and coercion. In his work ''[[Agricola (book)|Agricola]]'', the Roman historian Tacitus, writes passionately and critically about the greed and arrogance of the Roman Empire, portraying it as a ruthless and self-serving power. One, that Tacitus says is by the [[Caledonia]]n chieftain [[Calgacus]], ends with: "{{lang|la|Auferre trucidare rapere falsis nominibus imperium, atque ubi solitudinem faciunt, pacem appellant.}}" ("To ravage, to slaughter, to usurp under false titles, they call empire; and where they make a desert, they call it peace." —Oxford Revised Translation).

Discussion of peace is therefore at the same time an inquiry into its form. Is it simply the absence of mass organized killing (war), or does peace require a particular morality and justice? (''just peace'').<ref>{{cite book|last=Šmihula|first=Daniel|year=2013|title=The Use of Force in International Relations|page=129|publisher=VEDA, Publishing House of the Slovak Academy of Sciences |isbn=978-80-224-1341-1}}</ref>
Societal peace can be seen at least in two forms:
# A simple silence of arms, absence of war.
# Absence of war accompanied by particular requirements for the mutual settlement of relations, which are characterized by justice, mutual respect, respect for law, and good will.

Since 1945, the [[United Nations]] and the [[United Nations Security Council]] have operated under the aim to resolve conflicts without war. Nonetheless, nations have entered numerous military conflicts since then.

==Organizations and prizes==

=== United Nations ===
{{Main|United Nations}}
{{See also|List of United Nations peacekeeping missions}}
[[File:United Nations peacekeeping missions 2009.svg|thumb|upright=1.75|[[List of UN peacekeeping missions|UN peacekeeping missions]]. Dark blue regions indicate current missions, while light blue regions represent former missions.]]
The United Nations (UN) is an international organization whose stated aims are to facilitate cooperation in international law, international security, economic development, social progress, human rights, and achieving world peace. The UN was founded in 1945 after World War II to replace the League of Nations, to stop wars between countries, and to provide a platform for dialogue.

After authorization by the [[United Nations Security Council|Security Council]], the UN sends peacekeepers to regions where armed conflict has recently ceased or paused to enforce the terms of peace agreements and to discourage combatants from resuming hostilities. Since the UN does not maintain its own military, peacekeeping forces are voluntarily provided by member states of the UN. The forces, also called the "Blue Helmets", who enforce UN accords are awarded [[United Nations Medal]]s, which are considered [[international decoration]]s instead of military decorations. The peacekeeping force as a whole received the [[Nobel Peace Prize]] in 1988.

===Police===

{{Main|Police}}

The obligation of the state to provide for domestic peace within its borders is usually charged to the police and other general domestic policing activities. The police are a constituted body of [[Law enforcement officer|persons]] empowered by a [[State (polity)|state]] to [[law enforcement|enforce the law]], to protect the lives, liberty and possessions of citizens, and to prevent crime and civil disorder.<ref>{{cite web|title =The Role and Responsibilities of the Police|publisher =Policy Studies Institute|url =http://www.psi.org.uk/publications/archivepdfs/Role%20pol/INDPOL-0.P.pdf|access-date =22 December 2009|page =xii|archive-date =29 August 2017|archive-url =https://web.archive.org/web/20170829011701/http://www.psi.org.uk/publications/archivepdfs/Role%20pol/INDPOL-0.P.pdf|url-status =live}}</ref> Their powers include the power of arrest and the legitimized use of force. The term is most commonly associated with the police forces of a [[sovereign state]] that are authorized to exercise the [[Police power (United States constitutional law)|police power]] of that state within a defined legal or territorial area of responsibility. Police forces are often defined as being separate from the military and other organizations involved in the defense of the state against foreign aggressors; however, [[gendarmerie]] are military units charged with civil policing.<ref name="Lioe">{{cite book | first = Kim Eduard| last = Lioe| title = Armed Forces in Law Enforcement Operations? – The German and European Perspective|edition= 1989|pages= 52–57 | publisher = Springer-Verlag Berlin Heidelberg| isbn= 978-3-642-15433-1| date = 3 December 2010}}</ref> Police forces are usually public sector services, funded through taxes.

===National security===
{{Main|National security}}
The national security apparatus of a nation is responsible for providing peace and security against foreign threats and aggression. National security can be threatened by a range of factors, including actions by other states (such as military or cyber attacks), violent non-state actors (such as terrorist attacks), organized criminal groups (such as narcotic cartels), and natural disasters (such as floods and earthquakes).<ref name="Romm 1993">{{Cite book|title=Defining national security: the nonmilitary aspects |last=Romm |first=Joseph J.|author-link=Joseph J. Romm |year=1993 |publisher=Council on Foreign Relations |series=Pew Project on America's Task in a Changed World (Pew Project Series) |isbn=978-0-87609-135-7 |pages=122 |url=https://books.google.com/books?id=shxDOnuVcyYC |access-date=22 September 2010 }}</ref>{{rp|v, 1–8}}<ref name=":0">{{Cite book|title=Losing control : global security in the twenty-first century|last=Rogers|first=P|date=2010|publisher=Pluto Press|isbn=9780745329376|edition=3rd|location=London|oclc=658007519}}</ref> Systemic drivers of insecurity, which may be transnational, include [[economic inequality]] and marginalisation, [[Social exclusion|political exclusion]], [[climate change]], and [[nuclear proliferation]].<ref name=":0" /> In view of the wide range of risks, the preservation of peace and the security of a nation state have several dimensions, including economic security, energy security, physical security, environmental security, food security, border security, and cyber security. These dimensions correlate closely with elements of national power.

===League of Nations===
The principal forerunner of the United Nations was the [[League of Nations]]. It was created at the [[Paris Peace Conference, 1919|Paris Peace Conference of 1919]], and emerged from the advocacy of [[Woodrow Wilson]] and other idealists during World War I. The Covenant of the League of Nations was included in the [[Treaty of Versailles]] in 1919, and the League was based in [[Geneva]] until its dissolution as a result of World War II and replacement by the United Nations. The high hopes widely held for the League in the 1920s, for example amongst members of the [[League of Nations Union]], gave way to widespread disillusion in the 1930s as the League struggled to respond to challenges from Nazi Germany, Fascist Italy, and Japan.

The prominent scholar, [[Alfred Eckhard Zimmern|Sir Alfred Eckhard Zimmern]], who is widely regarded as one of the most influential intellectuals of the League of Nations, drew inspiration for his studies from the classics, along with other British scholars such as Gilbert Murray and Florence Stawell. This group of scholars is often referred to as the "Greece and peace" set, due to their shared interest in ancient Greek civilization and the promotion of peace.

The creation of the League of Nations, and the hope for informed public opinion on international issues (expressed for example by the [[Union for Democratic Control]] during World War I), also saw the creation after World War I of bodies dedicated to understanding international affairs, such as the [[Council on Foreign Relations]] in New York and the [[Royal Institute of International Affairs]] at [[Chatham House]] in London. At the same time, the academic study of international relations started to professionalise, with the creation of the first professorship of international politics, named for Woodrow Wilson, at [[Aberystwyth]], Wales, in 1919.

===Olympic Games===
The late 19th century idealist advocacy of peace which led to the creation of the [[Nobel Peace Prize]], the [[Rhodes Scholarships]], the [[Carnegie Endowment for International Peace]], and ultimately the [[League of Nations]], also saw the re-emergence of the ancient Olympic ideal. Led by [[Pierre de Coubertin]], this culminated in the holding in 1896 of the first of the modern [[Olympic Games]].

===Nobel Peace Prize===
{{Main|Nobel Peace Prize}}
[[File:Jean Henri Dunant.jpg|thumb|upright|[[Henry Dunant]] was awarded the first Nobel Peace Prize for his role in founding the [[International Red Cross]].]]
Since 1901, the Nobel Peace Prize has been the world's most prestigious honor given to individuals or organizations who have made significant contributions to peace. The prize is awarded by the [[Norwegian Nobel Committee]], a group of five individuals chosen by the Norwegian parliament. Nominees for the prize come from around the world, and are often those who have worked to end conflict, protect human rights, or promote humanitarian efforts. It is awarded annually to internationally notable persons following the prize's creation in the will of [[Alfred Nobel]]. According to Nobel's will, the Peace Prize shall be awarded to the person who "...shall have done the most or the best work for fraternity between nations, for the abolition or reduction of standing armies, and for the holding and promotion of peace congresses."<ref>{{cite web|url=http://nobelprize.org/alfred_nobel/will/short_testamente.html |access-date=31 March 2008 |title=Excerpt from the Will of Alfred Nobel |publisher=[[Nobel Foundation]] |url-status=dead |archive-url=https://web.archive.org/web/20071026033111/http://nobelprize.org/alfred_nobel/will/short_testamente.html |archive-date=26 October 2007 }}</ref>

===Rhodes, Fulbright and Schwarzman scholarships===
In creating the [[Rhodes Scholarships]] for outstanding students from the United States, Germany and much of the British Empire, [[Cecil Rhodes]] wrote in 1901 that 'the object is that an understanding between the three great powers will render war impossible and educational relations make the strongest tie'.<ref>{{cite web |url=http://files.rhodes.gethifi.com/Ottawa_September_2011_To_render_war_impossible.pdf |title=To 'render war impossible': the Rhodes Scholarships, educational relations between countries, and peace |access-date=9 June 2013 |url-status=dead |archive-url=https://web.archive.org/web/20130609195112/http://files.rhodes.gethifi.com/Ottawa_September_2011_To_render_war_impossible.pdf |archive-date=9 June 2013 }}</ref> This peace purpose of the Rhodes Scholarships was very prominent in the first half of the 20th century, and became prominent again in recent years under Warden of the Rhodes House [[Donald Markwell]],<ref>[http://www.rhodeshouse.ox.ac.uk/news/cecil-rhodess-vision-of-peace-highlighted Cecil Rhodes's goal of Scholarships promoting peace highlighted – The Rhodes Scholarships] {{webarchive|url=https://web.archive.org/web/20130922131706/http://www.rhodeshouse.ox.ac.uk/news/cecil-rhodess-vision-of-peace-highlighted |date=22 September 2013 }}. Various materials on peace by Warden of the [[Rhodes House]] [[Donald Markwell]] in Markwell, ''"Instincts to Lead": On Leadership, Peace, and Education''. Connor Court, 2013.</ref> a historian of thought about the causes of war and peace.<ref>E.g., [[Donald Markwell]], ''[[John Maynard Keynes]] and International Relations: Economic Paths to War and Peace''. Oxford: Oxford University Press, 2006.</ref> This vision greatly influenced Senator [[J. William Fulbright]] in the goal of the Fulbright fellowships to promote international understanding and peace, and has guided many other international fellowship programs,<ref>http://www.politics.ox.ac.uk/materials/news/Fulbright_18May12_Arndt.pdf {{Webarchive|url=https://web.archive.org/web/20130922110514/http://www.politics.ox.ac.uk/materials/news/Fulbright_18May12_Arndt.pdf |date=22 September 2013 }}, {{cite web |url=http://www.rhodeshouse.ox.ac.uk/news/honouring-j-william-fulbright |title=Honouring J. William Fulbright - the Rhodes Scholarships |access-date=26 September 2012 |url-status=dead |archive-url=https://web.archive.org/web/20130922150243/http://www.rhodeshouse.ox.ac.uk/news/honouring-j-william-fulbright |archive-date=22 September 2013 }}</ref> including the [[Schwarzman Scholars]] to China created by [[Stephen A. Schwarzman]] in 2013.<ref>See, e.g., "The Rhodes Scholarships of China" in [[Donald Markwell]], ''"Instincts to Lead": On Leadership, Peace, and Education'', Connor Court, 2013.</ref>

===Gandhi Peace Prize===
{{main|Gandhi Peace Prize}}
[[File:Mohandas K. Gandhi, portrait.jpg|thumb|upright|[[Mahatma Gandhi]]]]
The International Gandhi Peace Prize, named after [[Mahatma Gandhi]], is awarded annually by the [[Government of India]]. It was launched as a tribute to the ideals espoused by Gandhi in 1995 on the occasion of the 125th anniversary of his birth. This is an annual award given to individuals and institutions for their contributions towards social, economic and political transformation through non-violence and other Gandhian methods. The award carries Rs. 10 million in cash, convertible in any currency in the world, a plaque and a citation. It is open to all persons regardless of nationality, race, creed or sex.

===Student Peace Prize===
{{Main|Student Peace Prize}}
The [[Student Peace Prize]] is awarded biennially to a student or a student organization that has made a significant contribution to promoting peace and human rights.

===Ahmadiyya Muslim Peace Prize===
{{Main|Ahmadiyya Muslim Peace Prize}}
The [[Ahmadiyya Muslim Peace Prize]], is awarded annually "in recognition of an individual's or an organisation's contribution for the advancement of the cause of peace". The prize was first launched in 2009 by the [[Ahmadiyya]] Muslim Peace Prize Committee under the directive of the [[Khalifatul Masih|caliph]] of the Ahmadiyya Muslim Community, [[Mirza Masroor Ahmad]].

===Culture of Peace News Network===
{{Main|Culture of Peace News Network}}
The [[Culture of Peace News Network]], otherwise known simply as [[CPNN]], is a [[UN]] authorized interactive online news network, committed to supporting the global movement for a culture of peace.

[[File:Double-alaskan-rainbow.jpg|thumb|[[Rainbows]] are often used as a symbol of harmony and peace.]]

===Sydney Peace Prize===
Every year in the first week of November, the Sydney Peace Foundation presents the [[Sydney Peace Prize]]. The Sydney Peace Prize is awarded to an organization or an individual whose life and work has demonstrated significant contributions to: 
The achievement of peace with justice locally, nationally or internationally 
The promotion and attainment of human rights 
The philosophy, language and practice of non-violence

===Museums===
{{See also|Peace museums}}
A peace museum is a museum that documents historical peace initiatives. Many provide advocacy programs for nonviolent conflict resolution. This may include conflicts at the personal, regional or international level.

Smaller institutions include the [[Randolph Bourne Institute]], the McGill Middle East Program of Civil Society and Peace Building and the [[International Festival of Peace Poetry]].

==Religious beliefs {{anchor|Religion}}==

Religious beliefs often seek to identify and address the basic problems of human life, including conflicts between, among, and within persons and societies. In ancient [[ancient Greek religion|Greek-speaking areas]], the virtue of peace was personified as the goddess [[Eirene (goddess)|Eirene]], and in [[ancient Roman religion|Latin-speaking areas]] as the goddess [[Pax (goddess)|Pax]]. Her image was typically represented by ancient sculptors as a full-grown woman, usually with a [[cornucopia|horn of plenty]] and scepter and sometimes with a torch or [[olive branch|olive leaves]].
[[File:Our Lady Of Peace Qartaba.jpg|thumb|[[Our Lady of Peace]] statue in [[Qartaba]], Lebanon, 2022]]

===Christianity===

[[Christians]], who believe [[Jesus|Jesus of Nazareth]] to be the [[Jewish Messiah]] called [[Christ (title)|Christ]] (meaning Anointed One),<ref>{{cite web|last=Benner|first=Jeff|website=Ancient Hebrew Research Center|title=Ancient Hebrew Word Meanings: Messiah ~ meshi'ahh|url=http://www.ancient-hebrew.org/27_messiah.html|url-status=dead|archive-url=https://web.archive.org/web/20140426201839/http://www.ancient-hebrew.org/27_messiah.html |archive-date=26 April 2014 }}</ref> interpret {{Bibleverse|Isaiah|9:6}} as a [[Christian messianic prophecies|messianic prophecy]] of Jesus in which he is called the "[[Names and titles of Jesus in the New Testament|Prince of Peace]]".<ref>"For a child has been born for us, a son given to us; authority rests upon his shoulders; and he is named Wonderful Counselor, Mighty God, Everlasting Father, ''Prince of Peace''." [New Revised Standard Version]</ref> In the [[Gospel of Luke]], [[Zechariah (priest)|Zechariah]] celebrates his son [[John the Baptist|John]]: "And you, child, will be called the prophet of the Most High; for you will go before the Lord to prepare his ways, to give knowledge of salvation to his people by the forgiveness of their sins. By the tender mercy of our God, the dawn from on high will break upon us, to give light to those who sit in darkness and in the shadow of death, to guide our feet into the way of peace."<ref>{{Bibleverse|Luke|1:76–79}}</ref>

As a [[testimony of peace]], [[Peace Churches]] in the [[Anabaptist]] Christian tradition (such as the [[Mennonites]] and [[Quakers]]), as well Holiness Methodist Pacifists (such as the [[Immanuel Missionary Church]]), practice [[nonresistance]] and do not participate in warfare.<ref>{{multiref2
|1={{cite book |last1=Beaman |first1=Jay |last2=Pipkin |first2=Brian K. |title=Pentecostal and Holiness Statements on War and Peace |date=2013 |publisher=Wipf and Stock Publishers |isbn=9781610979085 |pages=98–99 |language=English}}
|2={{cite web |title=Article 22. Peace, Justice, and Nonresistance |date=2 March 2015 |url=https://www.mennoniteusa.org/who-are-mennonites/what-we-believe/confession-of-faith/peace-justice-and-nonresistance/ |publisher=[[Mennonite Church USA]] |access-date=4 June 2021 |language=English |archive-date=4 June 2021 |archive-url=https://web.archive.org/web/20210604204515/https://www.mennoniteusa.org/who-are-mennonites/what-we-believe/confession-of-faith/peace-justice-and-nonresistance/ |url-status=live}} }}</ref>

In the [[Catholic Church]], numerous pontifical documents on the Holy Rosary document a continuity of views of the Popes to have confidence in the Holy [[Rosary]] as a means to foster peace. In the Encyclical ''[[Mense maio]]'', 1965, in which he urged the practice of the Holy Rosary, and as reaffirmed in the encyclical ''[[Christi Matri]]'', 1966, to implore peace, [[Pope Paul VI]] stated in the apostolic ''[https://www.vatican.va/content/paul-vi/la/apost_exhortations/documents/hf_p-vi_exh_19691007_recurrens-mensis-october.html Recurrens mensis]'', October 1969, that the Rosary is a prayer that favors the great gift of peace.

===Hinduism===
[[Hinduism|Hindu]] texts contain the following passages:
{{blockquote|May there be peace in the heavens, peace in the atmosphere, peace on the earth. Let there be coolness in the water, healing in the herbs and peace radiating from the trees. Let there be harmony in the planets and in the stars, and perfection in eternal knowledge. May everything in the universe be at peace. Let peace pervade everywhere, at all times. May I experience that peace within my own heart.|[[Yajur Veda]] 36.17}}

{{blockquote|Let us have concord with our own people, and concord with people who are strangers to us. Ashwins (Celestial Twins) create between us and the strangers a unity of hearts. May we unite in our minds, unite in our purposes, and not fight against the heavenly spirit within us. Let not the battle-cry rise amidst many slain, nor the arrows of the war-god fall with the break of day|Yajur Veda 7.52}}

{{blockquote|A superior being does not render evil for evil. This is a maxim one should observe... One should never harm the wicked or the good or even animals meriting death. A noble soul will exercise compassion even towards those who enjoy injuring others or cruel deeds... Who is without fault?|[[Valmiki]]|[[Ramayana]]}}

{{blockquote|The chariot that leads to victory is of another kind.
Valour and fortitude are its wheels;
Truthfulness and virtuous conduct are its banner;
Strength, discretion, self-restraint and benevolence are its four horses,
Harnessed with the cords of forgiveness, compassion and equanimity...
Whoever has this righteous chariot, has no enemy to conquer anywhere.|Valmiki|Ramayana}}

===Buddhism===
[[Buddhist]]s believe that peace is attained by ending pain and suffering. They regard pain and suffering is stemming from cravings (in the extreme, greed), aversions (fears), and delusions and suffering is attachments to outcomes. To eliminate such pain and suffering and achieve personal peace, followers in the path of the [[Buddha]] adhere to a set of teachings called the [[Four Noble Truths]] — a central tenet in Buddhist philosophy.

===Islam===
[[Islam]] derived from the root word {{transliteration|ar|salam}} which literally means peace. [[Quran]] states "those who believe and whose hearts find comfort in the remembrance of Allah. Surely in the remembrance of Allah do hearts find comfort."<ref>{{qref|13|28|b=y}}</ref> and stated "O believers! When you are told to make room in gatherings, then do so. Allah will make room for you ˹in His grace˺. And if you are told to rise, then do so. Allah will elevate those of you who are faithful, and ˹raise˺ those gifted with knowledge in rank. And Allah is All-Aware of what you do."<ref>{{qref|58|11|b=y}}</ref>

=== Judaism ===
The Judaic tradition associates God with peace, as evidenced by various principles and laws in Judaism.

{{transliteration|he|[[Shalom]]}}, the biblical and modern Hebrew word for peace, is one of the names for God according to the Judaic law and tradition. For instance, in traditional [[Jewish law]], individuals are prohibited from saying "{{transliteration|he|Shalom}}" when they are in the bathroom as there is a prohibition on uttering any of God's names in the bathroom, out of respect for the divine name.

Jewish liturgy and prayer is replete with prayers asking God to establish peace in the world. The [[Amidah|שמונה עשרה]], a key prayer in Judaism that is recited three times each day, concludes with a blessing for peace. The last blessing of the [[Amidah|שמונה עשרה]], also known as the Amida ("standing" as the prayer is said while standing), is focused on peace, beginning and ending with supplications for peace and blessings.

Peace is central to Judaism's core principle of [[Messiah in Judaism|מָשִׁיחַ]] ("messiah") which connotes a time of universal peace and abundance, a time where weapons will be turned into plowshares and lions will sleep with lambs. As it is written in the [[Book of Isaiah]]:
{{blockquote|They shall beat their [[swords to plowshares|swords into plowshares]] and their spears into pruning hooks; nation will not lift sword against nation and they will no longer study warfare.|{{bibleverse||Isaiah|2:4|HE}} }}

{{blockquote|The wolf will live with the lamb, the leopard will lie down with the goat, the calf and the lion and the yearling together; and a little child will lead them. The cow will feed with the bear, their young will lie down together, and the lion will eat straw like the ox. The infant will play near the hole of the cobra, and the young child put his hand into the viper's nest. They will neither harm nor destroy on all my holy mountain, for the earth will be full of the knowledge of the Lord as the waters cover the sea.|{{bibleverse||Isaiah|11:6-9|HE}}}}

This last metaphor from [[Tanakh]] (Hebrew bible) symbolizes the peace by which a longed-for messianic age will be characterized, a peace in which natural enemies, the strong and the weak, predator and prey, will live in harmony.

Jews pray for the [[messiah|messianic]] age of peace every day in the מָשִׁיחַ, in addition to faith in the coming of the messianic age constituting one of the thirteen core principles of faith in Judaism, according to [[Maimonides]].{{citation needed|date=July 2023}}

==Ideological beliefs==

===Pacifism===
{{Main|Pacifism}}
[[File:Peace symbol (bold).svg|thumb|upright|A peace sign, which is widely associated with pacifism]]
Pacifism is the categorical opposition to the behaviors of war or violence as a means of settling disputes or of gaining advantage. Pacifism covers a spectrum of views ranging from the belief that international disputes can and should all be resolved via peaceful behaviors; to calls for the abolition of various organizations which tend to institutionalize aggressive behaviors, such as the military, or arms manufacturers; to opposition to any organization of society that might rely in any way upon governmental force. Groups that sometimes oppose the governmental use of force include [[Anarcho-pacifism|anarchists]] and [[Libertarianism|libertarians]]. Absolute pacifism opposes violent behavior under all circumstance, including defense of self and others.

Pacifism may be based on moral principles (a [[deontological]] view) or pragmatism (a [[consequentialist]] view). Principled pacifism holds that all forms of violent behavior are inappropriate responses to conflict, and are morally wrong. Pragmatic pacifism holds that the costs of war and inter-personal violence are so substantial that better ways of resolving disputes must be found.

===Inner peace, meditation and prayerfulness===
{{main|Inner peace}}
[[File:Abbot of Watkungtaphao in Phu Soidao Waterfall.jpg|thumb|upright|Buddhist monk during meditation near [[Phu Soi Dao National Park|Phu Soidao National Park]], 2009]]
Psychological or inner peace (i.e. peace of mind) refers to a state of being internally or spiritually at peace, with sufficient clarity of knowledge and understanding to remain calm in the face of apparent discord, stress and discomfort. Being internally "at peace" is considered to be a healthy playable mental state, a [[homeostasis]] of emotions and to be the opposite of feeling stressful, mentally anxious, or emotionally unstable. Within meditative traditions, the achievement of "peace of mind" is often associated with bliss and happiness.

Peace of mind, serenity, and calmness are descriptions of a disposition free from the effects of stress. In some meditative traditions, inner peace is believed to be a state of consciousness or enlightenment that may be cultivated by various types of meditation, prayer, [[tai chi]], yoga, or other various types of mental or physical disciplines. Many such practices refer to this peace as an experience of knowing oneself. An emphasis on finding inner peace is often associated with traditions such as [[Buddhism]], [[Hinduism]], and some traditional Christian contemplative practices such as [[monasticism]],<ref>{{cite book|title=Essential Writings of Christian Mysticism|page=163|year=2006|first=Bernard|last=McGinn}}</ref> as well as with the [[New Age]] movement.

===Non-aggression principle===
The [[non-aggression principle]] asserts that aggression against an individual or an individual's property is always an immoral violation of life, liberty, and property rights.<ref>{{multiref2
|1={{cite web|first=Sheldon|last=Richman|url=https://reason.com/2015/03/29/how-many-rights/|title=For Libertarians, There Is Only One Fundamental Right|date=29 March 2015|website=Reason|access-date=24 February 2022|archive-date=8 March 2022|archive-url=https://web.archive.org/web/20220308222328/https://reason.com/2015/03/29/how-many-rights/|url-status=live}}
|2={{cite web|first=Laurence M.|last=Vance|url=https://www.fff.org/explore-freedom/article/the-morality-of-libertarianism/|title=The Morality of Libertarianism|date=1 October 2015|website=The Future of Freedom Foundation|access-date=24 July 2023|archive-date=24 July 2023|archive-url=https://web.archive.org/web/20230724215144/https://www.fff.org/explore-freedom/article/the-morality-of-libertarianism/|url-status=live}} }}</ref> Utilizing deceit instead of consent to achieve ends is also a violation of the Non-Aggression Principle. Therefore, under the framework of this principle, rape, murder, deception, involuntary taxation, government regulation, and other behaviors that initiate aggression against otherwise peaceful individuals are considered violations.<ref>{{Cite web|first=Walter|last=Block|url=https://archive.lewrockwell.com/block/block26.html|title=The Non-Aggression Axiom of Libertarianism|publisher=[[Lew Rockwell]]|access-date=2016-03-22|archive-date=24 July 2023|archive-url=https://web.archive.org/web/20230724215144/https://archive.lewrockwell.com/block/block26.html|url-status=live}}</ref> This principle is most commonly adhered to by [[Libertarianism in the United States|libertarians]]. A common elevator pitch for this principle is, "Good ideas don't require force."<ref>{{cite web|first=Barry|last=Popik|url=https://www.barrypopik.com/index.php/new_york_city/entry/good_ideas_dont_require_force|title="Good ideas don't require force"|date=4 July 2021|website=The Big Apple|access-date=24 February 2022|archive-date=8 March 2022|archive-url=https://web.archive.org/web/20220308151437/https://www.barrypopik.com/index.php/new_york_city/entry/good_ideas_dont_require_force|url-status=live}}</ref>

===Satyagraha===
{{Main|Satyagraha}}
[[File:Dr. Martin Luther King Jr. at a civil rights march on Washington D.C. in 1963.jpg|thumb|upright|[[Martin Luther King Jr.]], president of the [[Southern Christian Leadership Conference]], and Mathew Ahmann, executive director of the National Catholic Conference for Interrracial Justice, at a civil rights march on Washington, D.C.]]
Satyagraha is a philosophy and practice of [[nonviolent resistance]] developed by [[Mohandas Karamchand Gandhi]]. He deployed satyagraha techniques in campaigns for [[Indian independence movement|Indian independence]] and also during his earlier struggles in [[South Africa]].

The word ''satyagraha'' itself was coined through a public contest that Gandhi sponsored through the newspaper he published in South Africa, ''[[Indian Opinion]]'', when he realized that neither the common, contemporary Hindu language nor the English language contained a word which fully expressed his own meanings and intentions when he talked about his nonviolent approaches to conflict. According to Gandhi's autobiography, the contest winner was Maganlal Gandhi (presumably no relation), who submitted the entry 'sadagraha', which Gandhi then modified to 'satyagraha'. Etymologically, this Hindic word means 'truth-firmness', and is commonly translated as 'steadfastness in the truth' or 'truth-force'.

Satyagraha theory also influenced [[Martin Luther King Jr.]], [[James Bevel]], and others during the campaigns they led during the [[civil rights movement]] in the United States. The theory of satyagraha sees means and ends as inseparable. Therefore, it is contradictory to try to use violence to obtain peace. As Gandhi wrote: "They say, 'means are, after all, means'. I would say, 'means are, after all, everything'. As the means so the end..."<ref>{{citation|editor-first1=R.K.|editor-last1=Prabhu|editor-first2=U.R.|editor-last2=Rao|chapter-url=https://www.mkgandhi.org/momgandhi/chap45.htm|chapter=The Gospel Of Sarvodaya|archive-url=https://web.archive.org/web/20110927001300/http://www.mkgandhi.org/momgandhi/chap45.htm |archive-date=27 September 2011|title=The Mind of Mahatma Gandhi|location=Ahemadabad, India|edition=Revised|year=1967}}</ref> A quote sometimes attributed to Gandhi, but also to [[A. J. Muste]], sums it up: "There is no way to peace; peace is the way".{{citation needed|date=July 2023}}

==Monuments==
The following are monuments to peace:
{| class="wikitable"
|-
! Name
! Location
! Organization
! Meaning
! Image
|-
|[[Twelve Metal Colossi]]
|[[Epang Palace]], [[Xi'an]]
|[[Emperor of China]]
|Following the [[Qin's wars of unification|Qin universal conquest]] and symbolizing the [[Pax Sinica|universal pacification]], the [[Qin Shi Huang|First Emperor]] collected all metal weapons of former [[Warring States]] as no longer necessary and melted them into twelve statues and bells. <ref name="JE">{{cite book |last1=Elsner |first1=Jaś |title=Figurines: Figuration and the Sense of Scale |date=22 October 2020 |publisher=Oxford University Press |isbn=978-0-19-886109-6 |pages=91–92 |url=https://books.google.com/books?id=q_7-DwAAQBAJ&pg=PA91 |language=en}}</ref>
|No illustrations have survived
|-
|[[Ara Pacis]]
|[[Rome]], [[Italy]]
|[[Roman Senate]]
|The monument of peace was preferred over the traditional triumphal arch as [[Augustus]] emphasized the achievement of [[Pax Romana|universal peace]] over Roman military victory.
|<ref>/media/wikipedia/commons/a/aa/Ara-pacis-augustae-cti1941.jpg {{Bare URL image|date=August 2024}}</ref>
|-
|[[Mennonite Heritage Village|Dirk Willems Peace Garden]]
|[[Steinbach, Manitoba]]
|[[Mennonite Heritage Village]]
|A peace garden telling the story of [[Dirk Willems]]; a place for reflection and contemplation on what it means to live a life of radical peacemaking.
|-
|[[Japanese Garden of Peace]]
|[[Fredericksburg, Texas]]
|[[National Museum of the Pacific War]]
|A gift from the people of Japan to the people of the United States, presented to honor [[Chester W. Nimitz]] and created as a respite from the intensity of violence, destruction, and loss.
|[[File:Japanese Garden Of Peace.jpg|100px]]
|-
| [[Japanese Peace Bell]]
| [[New York City]], NY
| [[United Nations]]
| World peace
| [[File:Japanese Peace Bell of United Nations.JPG|100px]]
|-
| ''[[Fountain of Time]]''
| [[Chicago]], IL
| [[Chicago Park District]]
| 100 years of peace between the US and UK
| [[File:Fountain of Time front1.jpg|100px]]
|-
| [[Fredensborg Palace]]
| [[Fredensborg]], [[Denmark]]
| [[Frederick IV of Denmark|Frederick IV]]
| The peace between [[Denmark–Norway]] and [[Sweden]], after [[Great Northern War]] which was signed 3 July 1720 on the site of the unfinished palace.
| [[File:Fredensborg Slot 124.JPG|100px]]
|-
|[[International Peace Garden]]
|[[North Dakota]], [[Manitoba]]
|non-profit organization
|Peace between the US and Canada, World peace
| [[File:2009-0521-CDNtrip003-PeaceGarden.jpg|100px]]
|-
|[[Peace Arch]]
|border between US and Canada, near [[Surrey, British Columbia]].
|non-profit organization
|Built to honour the first 100 years of peace between [[Great Britain]] and the [[United States]] resulting from the signing of the [[Treaty of Ghent]] in 1814.
| [[File:Peace Arch.JPG|100px]]
|-
|[[Shanti Stupa, Pokhara|Shanti Stupa]]
|[[Pokhara]], [[Nepal]]
|[[Nipponzan-Myōhōji-Daisanga]]
|One of eighty [[Peace Pagoda|Peace Pagodas]] in the World.
|-
|''[[Statue of Europe]]''
|[[Brussels]]
|[[European Commission]]
|Unity in Peace in Europe
|[[File:Statue of Europe-(Unity-in-Peace).jpg|100px]]
|-
|[[Waterton-Glacier International Peace Park]]
|[[Alberta]], [[Montana]]
|non-profit organization
|World Peace
|[[File:GlacierNP L7 20010701.jpg|100px]]
|-
|}

==Theories==
{{see also|Peace and conflict studies#Conceptions of peace}}
Many different theories of "peace" exist in the world of [[peace studies]], which involves the study of de-escalation, conflict transformation, disarmament, and cessation of violence.<ref>{{cite web|url=http://www.einaudi.cornell.edu/peaceprogram/|url-status=dead|title=Peace Studies Program|website=Cornell University|archive-url=https://web.archive.org/web/20071022225012/http://einaudi.cornell.edu/PeaceProgram/ |archive-date=22 October 2007 }}</ref>{{better source needed|date=August 2023}} The definition of "peace" can vary with religion, culture, or subject of study.

===Balance of power===
{{Main|Balance of power (international relations)}}
The classical "realist" position is that the key to promoting order between states, and so of increasing the chances of peace, is the maintenance of a [[Balance of power (international relations)|balance of power]] between states – a situation where no state is so dominant that it can "lay down the law to the rest". Exponents of this view have included [[Metternich]], [[Otto von Bismarck|Bismarck]], [[Hans Morgenthau]], and [[Henry Kissinger]]. A related approach – more in the tradition of [[Hugo Grotius]] than [[Thomas Hobbes]] – was articulated by the so-called "[[English school of international relations theory]]" such as [[Martin Wight]] in his book ''Power Politics'' (1946, 1978) and [[Hedley Bull]] in ''The Anarchical Society'' (1977).

As the maintenance of a balance of power could in some circumstances require a willingness to go to war, some critics saw the idea of a balance of power as promoting war rather than promoting peace. This was a radical critique of those supporters of the Allied and Associated Powers who justified entry into World War I on the grounds that it was necessary to preserve the balance of power in Europe from a German bid for [[hegemony]].

In the second half of the 20th century, and especially during the [[Cold War]], a particular form of balance of power – mutual nuclear deterrence – emerged as a widely held doctrine on the key to peace between the great powers. Critics argued that the development of nuclear stockpiles increased the chances of war rather than peace, and that the "nuclear umbrella" made it "safe" for smaller wars (e.g. the [[Vietnam War]] and the Soviet invasion of [[Czechoslovakia]] to end the [[Prague Spring]]), so making such wars more likely. Other critics such as [[Robert L. Holmes]] and [[Barry L. Gan]] objected to [[mutual assured destruction|MAD]] by noting the unethical irrationality of relying upon threats to wage nuclear warfare in order to prevent nuclear warfare itself.<ref>{{Cite book |last1=Holmes |first1=Robert L. |url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms |title=Nonviolence in Theory and Practice |last2=Gan |first2=Barry L. |date=2005 |publisher=Waveland Press |isbn=978-1-57766-349-2}}</ref><ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2216042.pdf |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref>

===Appeasement and deterrence===
[[Appeasement]] is a strategy to achieve peace by making political, material, or territorial concessions to an aggressive [[power (international relations)|power]].<ref>{{Cite web|url=http://www.history.co.uk/explore-history/ww2/appeasement.html|archive-url=https://web.archive.org/web/20130404054019/http://www.history.co.uk/explore-history/ww2/appeasement.html|url-status=unfit|title=Appeasement - World War 2 on History|archive-date=4 April 2013|website=www.history.co.uk}}</ref> [[Deterrence theory|Deterrence]] is a strategy to achieve peace by using threats or limited force to [[coercive diplomacy|dissuade]] an actor from escalating conflict,<ref name=":1">{{Cite book|last=Morgan|first=Patrick M.|url=https://books.google.com/books?id=aNreAAAAMAAJ|title=Deterrence: A Conceptual Analysis|date=1977|publisher=SAGE Publications|isbn=978-0-8039-0819-2|pages=26–30|language=en|access-date=2021-08-30|archive-date=2024-02-24|archive-url=https://web.archive.org/web/20240224051622/https://books.google.com/books?id=aNreAAAAMAAJ|url-status=live}}</ref> typically because the prospective attacker believes that the probability of success is low and the costs of attack are high.<ref>{{Cite book|last=Mearsheimer|first=John J.|url=https://www.jstor.org/stable/10.7591/j.ctt1rv61v2|title=Conventional Deterrence|date=1983|publisher=Cornell University Press|isbn=978-1-5017-1325-5|pages=23|jstor=10.7591/j.ctt1rv61v2|language=en|access-date=2021-09-05|archive-date=2023-04-05|archive-url=https://web.archive.org/web/20230405171209/https://www.jstor.org/stable/10.7591/j.ctt1rv61v2|url-status=live}}</ref>
[[File:John F. Kennedy and Lyndon B. Johnson Meet with Organizers of "March on Washington".jpg|thumb|Civil rights leaders (including [[Martin Luther King Jr.]]) meeting with President John F. Kennedy during the [[March on Washington for Jobs and Freedom|1963 March on Washington]] is an example of the "[[speaking truth to power]]" peace tactic.<ref>{{Cite web |last=Dubrin |first=Doug |title=The March on Washington and Its Impact |url=https://www.pbs.org/newshour/extra/teachers/lessonplans/history/dream2_8-20.html |url-status=live |archive-url=https://web.archive.org/web/20130109190937/https://www.pbs.org/newshour/extra/teachers/lessonplans/history/dream2_8-20.html |archive-date=2013-01-09 |access-date=2020-08-29 |website=www.pbs.org}}</ref><ref>{{Cite web |last=Jenkins |first=Alan |date=2013-08-28 |title=An important goal of the 1963 March on Washington remains unfulfilled |url=https://thehill.com/blogs/congress-blog/civil-rights/319011--an-important-goal-of-the-1963-march-on-washington-remains-unfulfilled |access-date=2020-08-29 |website=[[The Hill (newspaper)|The Hill]] |language=en}}</ref>]]
=== Speaking truth to power ===
{{main|Speaking truth to power}}
Speaking truth to power is a [[Nonviolence|non-violent]] political tactic, employed by [[dissidents]] against the [[received wisdom]] or [[propaganda]] of governments they regard as oppressive, [[authoritarian]] or an [[ideocracy]]. Practitioners who have campaigned for a more just and truthful world have included [[Apollonius of Tyana]], [[Vaclav Havel]],<ref>Havel, Václav; et al. (1985). Keane, John, ed. The Power of the Powerless: Citizens against the state in central-eastern Europe. Armonk, NY: M. E. Sharpe. {{ISBN|0-87332-761-6}}.</ref> [[Nelson Mandela]], [[Archbishop Desmond Tutu]], [[Mahatma Gandhi]], [[Bacha Khan]], and the [[14th Dalai Lama|Dalai Lama]].<ref>Nan Richardson (ed), [[Kerry Kennedy]] and [[Eddie Adams (photographer)|Eddie Adams]], 'Speak Truth to Power', Umbrage, 2003, introduction.</ref>

The phrase originated with a pamphlet, ''[[American Friends Service Committee#History|Speak Truth to Power: a Quaker Search for an Alternative to Violence]]'', published by the [[American Friends Service Committee]] in 1955. A contributor of the pamphlet's contents was civil rights activist [[Bayard Rustin]].<ref>{{cite book |url=https://archive.org/details/speaktruthtopowe00amer/page/n3/mode/2up |title=Speak truth to power A Quaker search for an alternative to violence |date=1955 |publisher=American Friends Service Committee |access-date=25 April 2024}}</ref><ref>According to Fea (2017), 'Rustin and his co-authors expunged Rustin’s name from the pamphlet because of his arrest on charges of committing a homosexual act in 1953.'[https://currentpub.com/2017/08/26/the-history-of-the-phrase-speak-truth-to-power/ The History of the Phrase “Speak Truth to Power”]</ref>

=== Free trade and interdependence ===
{{main|Doux commerce|Peace economics}}
It was a central tenet of [[classical liberalism]], for example among English liberal thinkers of the late 19th and early 20th century, that free trade promoted peace. For example, the Cambridge economist [[John Maynard Keynes]] (1883–1946) said that he was "brought up" on this idea and held it unquestioned until at least the 1920s.<ref>Quoted from [[Donald Markwell]], ''[[John Maynard Keynes]] and International Relations: Economic Paths to War and Peace''. Oxford: Oxford University Press, 2006, chapter 2.</ref> During the [[economic globalization]] in the decades leading up to World War I, writers such as [[Norman Angell]] argued that the growth of economic interdependence between the great powers made war between them futile and therefore unlikely. He made this argument in 1913. A year later Europe's economically interconnected states were embroiled in what would later become known as the First World War.<ref>{{Cite web|url=https://www.nato.int/docu/review/articles/2019/01/14/the-end-of-the-great-illusion-norman-angell-and-the-founding-of-nato/index.html|title=NATO Review - the end of the "Great Illusion": Norman Angell and the founding of NATO|date=14 January 2019|access-date=10 November 2019|archive-date=10 November 2019|archive-url=https://web.archive.org/web/20191110170330/https://www.nato.int/docu/review/articles/2019/01/14/the-end-of-the-great-illusion-norman-angell-and-the-founding-of-nato/index.html|url-status=live}}</ref>

=== Democratic peace theory ===
{{main|Democratic peace theory}}
The [[democratic peace theory]] posits that democracy causes peace (between democracies) because of the accountability, institutions, values, and norms of democratic countries.<ref name="Hegre2014">{{cite journal |last1=Hegre |first1=Håvard |title=Democracy and armed conflict |journal=Journal of Peace Research |date=2014 |volume=51 |issue=2 |pages=159–172 |doi=10.1177/0022343313512852|s2cid=146428562 |doi-access=free }}</ref>

=== Territorial peace theory ===
{{main|Territorial peace theory}}
The [[territorial peace theory]] posits that peace causes democracy because territorial wars between neighbor countries lead to authoritarian attitudes and disregard for democratic values.<ref>{{multiref2|
1={{cite journal |last1=Gibler |first1=Douglas M. |last2=Hutchison |first2=Marc L. |last3=Miller |first3=Steven V. |title=Individual identity attachments and international conflict: The importance of territorial threat |journal=Comparative Political Studies |date=2012 |volume=45 |issue=12 |pages=1655–1683|doi=10.1177/0010414012463899 |s2cid=154788507|url=https://journals.sagepub.com/doi/10.1177/0010414012463899|url-access=subscription }}
|2={{cite journal |last1=Hutchison |first1=Marc L. |last2=Gibler |first2=Douglas M. |title=Political tolerance and territorial threat: A cross-national study |journal=The Journal of Politics |date=2007 |volume=69 |issue=1 |pages=128–142|doi=10.1111/j.1468-2508.2007.00499.x |s2cid=154653996|url=https://www.journals.uchicago.edu/doi/10.1111/j.1468-2508.2007.00499.x|url-access=subscription}} }}</ref>
This theory is supported by historical studies showing that countries rarely become democratic until after their borders have been settled by territorial peace with neighbor countries.<ref>{{multiref2|
1={{cite journal |last1=Gibler |first1=Douglas M. |last2=Owsiak |first2=Andrew |title=Democracy and the Settlement of International Borders, 1919-2001 |journal=Journal of Conflict Resolution |date=2017 |volume=62 |issue=9 |pages=1847–1875|doi=10.1177/0022002717708599 |s2cid=158036471|url=https://journals.sagepub.com/doi/10.1177/0022002717708599|url-access=subscription }}
|2={{cite journal |last1=Owsiak |first1=Andrew P. |last2=Vasquez |first2=John A. |title=Peaceful dyads: A territorial perspective |journal=International Interactions |date=2021 |volume=47 |issue=6 |pages=1040–1068 |doi=10.1080/03050629.2021.1962859|s2cid=239103213|url=https://www.tandfonline.com/doi/full/10.1080/03050629.2021.1962859|url-access=subscription}} }}</ref>

=== War game ===
{{Main|Peace war game}}

The ''Peace and War Game'' is an approach in [[game theory]] to understand the relationship between peace and conflicts.

The [[iterated game]] hypotheses was originally used by academic groups and [[computer simulation]]s to study possible strategies of [[cooperation]] and [[aggression]].<ref>{{cite book|last=Shy|first=Oz|year=1996|title=Industrial Organization: Theory and Applications|url=https://archive.org/details/industrialorgani0000shyo|url-access=registration|location=Cambridge, Mass.|publisher=The [[MIT]] Press}}</ref>{{page needed|date=August 2023}}

As peace makers became richer over time, it became clear that making war had greater costs than initially anticipated. One of the well studied [[strategy|strategies]] that acquired wealth more rapidly was based on [[Genghis Khan]], i.e. a constant aggressor making war continually to gain resources. This led, in contrast, to the development of what's known as the "provokable nice guy [[strategy]]", a peace-maker until attacked, improved upon merely to win by occasional forgiveness even when attacked. By adding the results of all pairwise games for each player, one sees that multiple players gain wealth cooperating with each other while bleeding a constantly aggressive player.<ref>{{cite journal|first=Nicholas R.|last=Miller|url=https://www.jstor.org/stable/4235437|url-access=subscription|title=Nice Strategies Finish First: A Review of ''The Evolution of Cooperation''|journal=[[Politics and the Life Sciences]]|volume=4|number=1|pages=86–91|publisher=[[Association for Politics and the Life Sciences]]|year=1985|doi=10.1017/S0730938400020852 |jstor=4235437 |s2cid=151520743 }}</ref>

=== Socialism and managed capitalism ===
Socialist, communist, and left-wing liberal writers of the 19th and 20th centuries (e.g., [[Lenin]], [[J.A. Hobson]], [[John Strachey (politician)|John Strachey]]) argued that capitalism caused war (e.g. through promoting imperial or other economic rivalries that lead to international conflict). This led some to argue that international socialism was the key to peace.

However, in response to such writers in the 1930s who argued that capitalism caused war, the economist [[John Maynard Keynes]] (1883–1946) argued that managed capitalism could promote peace. This involved international coordination of fiscal/monetary policies, an international monetary system that did not pit the interests of countries against each other, and a high degree of freedom of trade. These ideas underlay Keynes's work during World War II that led to the creation of the [[International Monetary Fund]] and the [[World Bank]] at [[Breton Woods, New Jersey|Bretton Woods]] in 1944, and later of the [[General Agreement on Tariffs and Trade]] (subsequently the [[World Trade Organization]]).<ref>{{cite book|first=Donald|last=Markwell|author-link=Donald Markwell|title=John Maynard Keynes and International Relations: Economic Paths to War and Peace|location=Oxford|publisher=Oxford University Press|year=2006|isbn=978-0-19-829236-4 |url=https://archive.org/details/johnmaynardkeyne0000mark|url-access=registration}}</ref>{{page needed|date=August 2023}}

===International organization and law===
One of the most influential theories of peace, especially since [[Woodrow Wilson]] led the creation of the [[League of Nations]] at the [[Paris Peace Conference, 1919|Paris Peace Conference]] of 1919, is that peace will be advanced if the intentional anarchy of states is replaced through the growth of [[international law]] promoted and enforced through international organizations such as the League of Nations, the [[United Nations]], and other functional international organizations. One of the most important early exponents of this view was [[Alfred Eckhart Zimmern]], for example in his 1936 book ''The League of Nations and the Rule of Law''.<ref>{{cite book|first=Alfred Eckhard|last= Zimmern|title=The League of Nations and the Rule of Law|publisher=Macmillan|year=1936|url=https://archive.org/details/in.ernet.dli.2015.6948}}</ref>

=== Trans-national solidarity ===
[[File:Peace Steps on Social Movilitation.jpg|thumb|An [[Anti-war movement|anti-war activist]] with a homemade costume during an event in [[Colombia]], 2020|249x249px]]Many "idealist" thinkers about international relations – e.g. in the traditions of [[Kant]] and [[Karl Marx]] – have argued that the key to peace is the growth of some form of [[solidarity]] between peoples (or classes of people) spanning the lines of cleavage between nations or states that lead to war.<ref>{{cite book|last=Hinsley|first=F.H.|author-link=Harry Hinsley|title=Power and the Pursuit of Peace|location=Cambridge|publisher=Cambridge University Press|year=1962|isbn=978-0-521-09448-1 |url=https://archive.org/details/powerpursuitofpe0000hins|url-access=registration}}</ref>{{page needed|date=August 2023}}

One version of this is the idea of promoting international understanding between nations through the international mobility of students – an idea most powerfully advanced by [[Cecil Rhodes]] in the creation of the [[Rhodes Scholarships]], and his successors such as [[J. William Fulbright]].<ref>Discussed above. See, e.g., {{cite book|first=Donald|last=Markwell|author-link=Donald Markwell|title="Instincts to Lead": On Leadership, Peace, and Education|year=2013|publisher=Connor Court Publishing|location=Australia|isbn=978-1-922168-70-2 |url=https://archive.org/details/instinctstoleado0000mark|url-access=registration}}</ref>

Another theory is that peace can be developed among countries on the basis of active management of water resources.<ref>{{cite web|url=https://strategicforesight.com/publications.php#.WBm94-V94dU|title=Publications – Strategic Foresight Group, Think Tank, Global Policy, Global affairs research, Water Conflict studies, global policy strategies, strategic policy group, global future studies|website=strategicforesight.com|access-date=2 November 2016|archive-url=https://web.archive.org/web/20161101013118/http://strategicforesight.com/publications.php#.WBm94-V94dU#.WBm94-V94dU|archive-date=1 November 2016|url-status=live}}</ref>{{better source needed|date=August 2023}}

==Day==
[[World Peace Day]], celebrated on 21 September, was founded as a day to recognize, honour and promote peace.<ref>{{Cite web |last= |first= |title=International Day of Peace |url=https://www.un.org/en/observances/international-day-peace |access-date=2024-05-16 |website=United Nations |language=en}}</ref> It is commemorated each year by United Nations members.

==Studies, rankings, and periods==
===Peace and conflict studies===
{{Main|Peace and conflict studies}}
[[File:Peace-and-Prosperity-Vedder-Highsmith-detail-1.jpeg|thumb|upright=1.2|Detail from ''Peace and Prosperity'' (1896), [[Elihu Vedder]], Library of Congress [[Thomas Jefferson Building]], Washington, D.C.]]
''Peace and conflict studies'' is an [[academic field]] which identifies and analyses [[Violence|violent]] and [[Nonviolence|nonviolent]] behaviours, as well as the structural mechanisms attending violent and non-violent [[social conflict]]s. This is to better understand the processes leading to a more desirable [[human condition]].<ref>Dugan, 1989: 74</ref>{{full citation needed|date=August 2023}} One variation,
''Peace studies'' ([[irenology]]), is an [[Interdisciplinarity|interdisciplinary]] effort aiming at the prevention, [[de-escalation]], and solution of conflicts. This contrasts with [[war studies]] (polemology), directed at the efficient attainment of victory in conflicts. Disciplines involved may include [[political science]], [[geography]], [[economics]], [[psychology]], [[sociology]], [[international relations]], [[history]], [[anthropology]], [[religious studies]], and [[gender studies]], as well as a variety of other disciplines.

===Measurement and ranking===

Although peace is widely perceived as something intangible, various organizations have been making efforts to quantify and measure it. [[Global Peace Index|The Global Peace Index]] produced by [[Institute for Economics and Peace|the Institute for Economics and Peace]] is a known effort to evaluate peacefulness in countries based on 23 indicators of the absence of violence and absence of the fear of violence.<ref>{{cite web|url=https://www.visionofhumanity.org/#/page/our-gpi-findings|title=Vision of Humanity|work=visionofhumanity.org|access-date=15 December 2013|archive-url=https://web.archive.org/web/20110222142429/http://www.visionofhumanity.org/#/page/our-gpi-findings#/page/our-gpi-findings|archive-date=22 February 2011|url-status=live}}</ref>

The 2015 edition of the Index ranked 163 countries on their internal and external levels of peace.<ref>{{cite web|url=https://edition.cnn.com/2015/06/25/world/global-peace-index-iceland-syria/|title=Study: Iceland is the most peaceful nation in the world|author=Jethro Mullen|date=25 June 2015|work=CNN.com|access-date=6 August 2015|archive-url=https://web.archive.org/web/20150807205631/http://www.edition.cnn.com/2015/06/25/world/global-peace-index-iceland-syria/|archive-date=7 August 2015|url-status=live}}</ref> According to the 2017 [[Global Peace Index]], Iceland is the most peaceful country in the world while Syria is the least peaceful one.<ref>{{cite web|url=https://www.weforum.org/agenda/2017/06/these-are-the-most-peaceful-countries-in-the-world/|first=Charlotte | last=Edmond | title=These are the most peaceful countries in the world|website=World Economic Forum|date=8 June 2017 |access-date=14 July 2017|archive-url=https://web.archive.org/web/20170715234119/https://www.weforum.org/agenda/2017/06/these-are-the-most-peaceful-countries-in-the-world|archive-date=15 July 2017|url-status=live}}</ref> [[Fragile States Index]] (formerly known as the Failed States Index) created by the [[Fund for Peace]] focuses on risk for instability or violence in 178 nations. This index measures how fragile a state is by 12 indicators and subindicators that evaluate aspects of politics, social economy, and military facets in countries.<ref>{{cite web|url=https://foreignpolicy.com/fragile-states-2014/|title=Fragile States 2014|publisher=Foreign Policy|work=foreignpolicy.com|access-date=10 March 2017|archive-url=https://web.archive.org/web/20170317151755/http://foreignpolicy.com/fragile-states-2014/|archive-date=17 March 2017|url-status=live}}</ref> The 2015 Failed State Index reports that the most fragile nation is South Sudan, and the least fragile one is Finland.<ref>{{cite web|url=https://www.voanews.com/a/south-sudan-fragile-states-index-hunger-idps/2827703.html|first=Karin|last=Zeitvogel|title=South Sudan Tops List of World's Fragile States – Again|work=VOA|date=19 June 2015 |access-date=6 August 2015|archive-url=https://web.archive.org/web/20150813094407/http://www.voanews.com/content/south-sudan-fragile-states-index-hunger-idps/2827703.html|archive-date=13 August 2015|url-status=live}}</ref> [[University of Maryland, College Park|University of Maryland]] publishes the Peace and Conflict Instability Ledger in order to measure peace. It grades 163 countries with 5 indicators, and pays the most attention to risk of political instability or armed conflict over a three-year period. The most recent ledger shows that the most peaceful country is Slovenia on the contrary Afghanistan is the most conflicted nation. Besides indicated above reports from the [[Institute for Economics and Peace]], Fund for Peace, and University of Maryland, other organizations including George Mason University release indexes that rank countries in terms of peacefulness.

===Long periods===
{{See also|List of periods of regional peace}}
The longest continuing period of peace and neutrality among currently existing states is observed in [[Sweden]] since 1814 and in [[Switzerland]], which has had an official policy of neutrality since 1815. This was made possible partly by the periods of relative peace in Europe and the world known as [[Pax Britannica]] (1815–1914), [[Pax Europaea]]/[[Pax Americana]] (since 1950s), and [[Pax Atomica]] (also since the 1950s).

Other examples of long periods of peace are:
* the [[isolationism|isolationistic]] [[Edo period]] (also known as [[Tokugawa shogunate]]) in Japan 1603 to 1868 (265 years)
* [[Pax Khazarica]] in [[Khazar Khanate]] (south-east Turkey) about {{CE|700–950}} (250 years)
* [[Pax Romana]] in the Roman empire (for 190 or 206 years).

==See also==
* {{annotated link|[[Anti-war]]}}
* {{annotated link|[[Catholic peace traditions]]}}
* {{annotated link|[[Grey-zone (international relations)]]}}
* {{annotated link|[[Group on International Perspectives on Governmental Aggression and Peace]]}}
* {{annotated link|[[List of peace activists]]}}
* {{annotated link|[[List of places named after peace|List of places named Peace]]}}
* {{annotated link|[[List of peace prizes]]}}
* {{annotated link|[[Moral syncretism]]}}
* {{annotated link|[[Nonkilling]]}}
* {{annotated link|[[Nonviolence]]}}
* {{annotated link|[[Peace education]]}}
* {{annotated link|[[Peace in Islamic philosophy]]}}
* {{annotated link|[[Peace Journalism]]}}
* {{annotated link|[[Peace makers]]}}
* {{annotated link|[[Peace One Day]]}}
* {{annotated link|[[Peace Palace]]}}
* {{annotated link|[[Peace symbol]]}}
* {{annotated link|[[Perpetual peace]]}}
* {{annotated link|[[Prayer for Peace (disambiguation)|Prayer for Peace]]}}
* {{annotated link|[[Structural violence]]}}
* {{annotated link|[[Sulh]]}}
* {{annotated link|[[Turn the other cheek]]}}
* {{annotated link|[[War resister]]}}

==References==
{{Reflist}}

==Further reading==
{{refbegin|30em}}
*Sir [[Norman Angell]]. ''[[The Great Illusion]]''. 1909
*[[Raymond Aron]], ''Peace and War''. London: Weidenfeld & Nicolson, 1966
*[[Hedley Bull]]. ''The Anarchical Society''. Macmillan, 1977
*Sir [[Herbert Butterfield]]. ''Christianity, Diplomacy and War''. 1952
*Martin Ceadel. ''[[Pacifism]] in Britain, 1914–1945: The Defining of a Faith''. Oxford: Clarendon Press, 1980
*Martin Ceadel. ''Semi-Detached Idealists: The British Peace Movement and International Relations, 1854–1945''. Oxford: Oxford University Press, 2000.
*Martin Ceadel. ''The Origins of War Prevention: The British Peace Movement and International Relations, 1730–1854''. Oxford: Oxford University Press, 1996
*Martin Ceadel. ''Thinking about Peace and War''. Oxford: Oxford University Press, 1987
*[[Inis L. Claude]], Jr. ''Swords into Ploughshares: The Problems and Progress of International Organization''. 1971
*[[Michael W. Doyle]]. ''Ways of War and Peace: Realism, Liberalism, and Socialism''. W.W. Norton, 1997
*Sir [[Harry Hinsley]]. ''Power and the Pursuit of Peace''. Cambridge: Cambridge University Press, 1962
*[[Andrew Hurrell]]. ''On Global Order''. Oxford: Oxford University Press, 2008
*[[Immanuel Kant]]. ''[[Perpetual Peace]]''. 1795
*[[Martin Luther King Jr.]]. [[Letter from Birmingham Jail]]
*[[Donald Markwell]]. ''[[John Maynard Keynes]] and International Relations: Economic Paths to War and Peace''. Oxford: Oxford University Press, 2006.
*[[Donald Markwell]]. ''"Instincts to Lead": On Leadership, Peace, and Education''. Connor Court, 2013
*[[Hans Morgenthau]]. ''Politics Among Nations''. 1948
*Laure Paquette. ''The Path to Peace''
*[[Steven Pinker]]. ''The Better Angels of Our Nature: Why Violence Has Declined''. Viking, 2011
*Sir [[Alfred Eckhard Zimmern]]. ''The [[League of Nations]] and the Rule of Law''. Macmillan, 1936
*[[Kenneth Waltz]]. ''Man, the State and War''. Princeton: Princeton University Press, 1978
*[[Michael Walzer]]. ''Just and Unjust War''. Basic Books, 1977
*Jeni Whalan. ''How Peace Operations Work''. Oxford University Press, 2013
*[[Martin Wight]]. ''Power Politics''. 1946 (2nd edition, 1978)
*"Pennsylvania, A History of the Commonwealth," esp. pg. 109, edited by Randall M. Miller and William Pencak, The Pennsylvania State University Press, 2002
*[http://www.peacefulsocieties.org/index.html Peaceful Societies, Alternatives to Violence and War] {{Webarchive|url=https://web.archive.org/web/20220412014737/http://peacefulsocieties.org/index.html |date=12 April 2022 }} Short profiles on 25 peaceful societies.
*''Prefaces to Peace: a Symposium [i.e. anthology]'', Consisting of [works by] Wendell L. Willkie, Herbert Hoover and Hugh Gibson, Henry A. Wallace, [and] Sumner Welles. "Cooperatively published by Simon and Schuster; Doubleday, Doran, and Co.; Reynal & Hitchcock; [and] Columbia University Press", [194-]. xii, 437 p.
{{Refend}}

==External links==

{{Sister project links|Peace}}
* [https://carnegieendowment.org/ Carnegie Endowment for International Peace]
* [https://www.carnegiecouncil.org/ Carnegie Council for Ethics in International Affairs]
* [https://libraryresources.unog.ch/peace Research Guide on Peace by the United Nations Library at Geneva]
* [https://peace.maripo.com/ Peace Monuments Around the World]
* {{curlie|Society/Issues/Peace|Peace}}
* [https://www.frient.de/ Working Group on Peace and Development (FriEnt)]


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[[Category:Peace| ]]
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Talk:Peace

2024-10-15T20:40:23Z

160.72.80.178: /* Re: Restoration of links for: Robert L. Holmes and Barry L. Gan */ new section

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== Countries at peace ==

It would be interesting, though I'm sure very difficult, to list the status of every country (ie. "at war" or "peace") in a table. Even better would be presenting it as a map! [[user:violetriga|violet/riga]] [[User_talk:violetriga|(t)]] 19:22, 28 August 2007 (UTC)

:: It would be interesting but it would be POV. Whether a country is at peace or at war is entirely POV. So, NO you should not include it. —Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:Dudeman1st|Dudeman1st]] ([[User talk:Dudeman1st|talk]] • [[Special:Contributions/Dudeman1st|contribs]]) 02:34, 20 December 2007 (UTC) 

See also [[War on Terrorism]]. LOL! [[User:Tschravic|Tschravic]] ([[User talk:Tschravic|talk]]) 08:11, 30 April 2009 (UTC)

== Been watching this page for more than a year. ==

All stuff on this page needs cites. I don't care if it's your religious view or your group's view. There can be no original research or POV stuff on this page, especially without cites. I am now deleting stuff that has been on the page for more than a year without a cite, like "Environmental Peace." I am reorganizing a little. I will trim down POV stuff. If you have beef with my changes, post here or to my talk page. [[User:Dudeman1st|Dudeman1st]] ([[User talk:Dudeman1st|talk]]) 02:56, 20 December 2007 (UTC)

:Please do not put symbols for peace in the main area. Whether you like it or not, there is no universally recognized symbol for peace. I believe the dove and the "peace sign" are sufficient, but I also believe that a [[swastika]] is a peace symbol. Better to let sleeping dogs lie.[[User:Dudeman1st|Dudeman1st]] ([[User talk:Dudeman1st|talk]]) 03:52, 20 December 2007 (UTC)

== international creed for peace / International Peace Institute ==

I have restored the International Creed for Peace please read to the disscusion page before deleting [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]]) 23:39, 26 December 2007 (UTC)

you know i am not sure what user Jossi meant by "..........., and we are not listing such orgs in this page" please could someone clarify who he is refering to as we [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]]) 23:53, 26 December 2007 (UTC)

see also [http://www.jmu.edu/jmuweb/fs/news/fs9375.shtml] —Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]] • [[Special:Contributions/Motegole|contribs]]) 00:09, 27 December 2007 (UTC) 

: This article is about Peace, not about Peace organizations. The material does not belong here. When I said "we" I meant Wikipedia. [[User:Jossi|≈ jossi ≈]] [[User_talk:Jossi|(talk)]] 00:15, 27 December 2007 (UTC)
: Added a redlink to [[International Creed for Peace]], you are welcome to create an article about the subject, based on [[WP:V|verifiable]] sources. This article does not present other organizations related to peace either, so do not add a section about the International Creed for Peace as that will violate [[WP:UNDUE]] [[User:Jossi|≈ jossi ≈]] [[User_talk:Jossi|(talk)]] 00:23, 27 December 2007 (UTC)

:: Why would you delete a redlink to that page? That is very strange behavior... [[User:Jossi|≈ jossi ≈]] [[User_talk:Jossi|(talk)]] 00:25, 27 December 2007 (UTC)

:: Ah... I see that [[Peace Insititute]] was [[Wikipedia:Articles_for_deletion/International_Peace_Institute_%282nd_nomination%29||deleted]]. on the basis of lack of notability. If that is the case, a mention of this "International Cree for Peace" in this article is not warranted either. [[User:Jossi|≈ jossi ≈]] [[User_talk:Jossi|(talk)]] 00:29, 27 December 2007 (UTC)

:::you see you dont take your time to investigate properly [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]]) 00:36, 27 December 2007 (UTC)

:::: Sorry? If that was the case, why did you revert my deletion of the material? [[User:Jossi|≈ jossi ≈]] [[User_talk:Jossi|(talk)]] 00:37, 27 December 2007 (UTC)

:::: In your edit summary you said: ''restored the International Creed for Peace was allowed on the page by consensus''. Where is that discussion? I do not see anything of the kind, on the contrary. [[User:Jossi|≈ jossi ≈]] [[User_talk:Jossi|(talk)]] 00:40, 27 December 2007 (UTC)

please read the discussion page see

12 Recommend removal of "International creed for peace" and "International Peace Institute" and
18 Reorganized different kinds of peace

you see one person is not wikipedia

International creed for peace is not an organisation and it well referenced that is why it survived the deletion on the basis of lack of notability

i will restore the entry so that we can allow others to contribute and we will definitly reach a consesus to delete or to keep

please take is easy i appauld your zeal but let others have a say [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]]) 01:03, 27 December 2007 (UTC)

: This is not about "zeal", but about material that does not comply with our content policies. The related articles have been all deleted for lack of notability, so the material should stay out of the article. [[User:Jossi|≈ jossi ≈]] [[User_talk:Jossi|(talk)]] 01:37, 27 December 2007 (UTC)
: In case you forgot [[International Creed for Peace]] was deleted in [[Wikipedia:Articles for deletion/International Peace Institute (2nd nomination)|this AfD]] alongside these related articles:
:: {{la|Peace Insititute}}
::{{la|Universal Peace Protocol}}
::{{la|Peace Conservation System}}
::{{la|ICP Campaign}}
::{{la|Post Philosophy}}
::{{la|Christian Post Philosophy}}, and
::{{la|Chika Sylva-Olejeme}}

:Re-adding ''any'' of that material is against community consensus, and will be regarded as [[WP:DE|disruption]] [[User:Jossi|≈ jossi ≈]] [[User_talk:Jossi|(talk)]] 01:41, 27 December 2007 (UTC)

Re- adding? this entry has been on the peace page before and after all the pages deleted
please investigate before making strong statements [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]]) 01:51, 27 December 2007 (UTC)

: Yes, re-added by you after my deletion. [[User:Jossi|≈ jossi ≈]] [[User_talk:Jossi|(talk)]] 04:14, 27 December 2007 (UTC)

Dear Jossi, this is the peace page you know, what is the hurry to remove this entry, 1, the website has been cited 2, "WAR AND PEACE: THE ETERNAL SWING" CALL FOR PAPERS 2008 Conference JAMES MADISON UNIVERSITY: April 3-4, 2008 also, you may search the web for even more,
please no disrespect i will restore the entry and await administrative actions as you have suggested, sometimes others editors of wikipedia may have alternative opinions to yours in such cases what do you do? let allow other wikipedians discuss this issue or do you simply take up you decision , i hope you understand i do want to upset you [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]]) 08:47, 28 December 2007 (UTC)

: I have made the necessary points already, but you seem unable to understand them. What you are doing is not acceptable, as the material you are adding has failed several times to be included in Wikipedia due to lack of notability. [[User:Jossi|≈ jossi ≈]] [[User_talk:Jossi|(talk)]] 17:31, 28 December 2007 (UTC)

the International Creed for Peace has been on the Peace page for more than one Year and has been edited by wikipedians before and after the deletion of the other pages i think it is evident as it on 12 and 18 see the dates

Recommend removal of "International creed for peace" and "International Peace Institute"
The "International Peace Institute" page has been recommended for deletion AfD. There's no good references for these two terms, even if you Google them. I think they are probably fabrications. If there's no major objections, I am going to delete themDudeman1st 12:17, 3 October 2006 (UTC)

Refs have been added and the organization is listed by UNESCO. The AfD proposal is still pending, but even if the article is deleted, there is no reason why material from the organization can't be included here.--agr 16:17, 5 October 2006 (UTC)
This is an article about Peace and shouldn't be an advertisement for IPI of Nigeria. An NPOV blourb is acceptable.Dudeman1st 14:31, 9 October 2006 (UTC)
removed the link of IPI Kobrown 18:55, 9 October 2006 (UTC)

Reorganized different kinds of peace
Just cleaning up a little. The new heading is 'theories and versions of peace'Dudeman1st 00:43, 10 October 2006 (UTC)
I also moved things from "International Creed for Peace" section to the International Creed for Peace page. If users want to read the creed's text and philosophy, they can follow the link. The ICP philosophy and text belong on the ICP page. There's no need to double post them. I added the intro sentence "The International Creed for Peace(see link for creed's text), created by Chika Sylva-Olejeme and the International Peace Institute, sets forth an agenda and moral code for the advancement of peace for all humans and nations."Dudeman1st 02:33, 10 October 2006 (UTC)
you clean up is good Kobrown 09:53, 10 October 2006 (UTC)
Hate to even mention such a pragmatic thing amongst the heated discussion, but should there be a disambiguation link for "peace"? There's a play by Aristophanes by that name, listed under "Peace (play)". Hierophany 01:48, 9 December 2006 (UTC)

i have cited this before please give another reason and we can reach a consensus to delete or to keep i don't want to engage in an edit war i have also seen your report [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]]) 18:39, 28 December 2007 (UTC)

I have removed "written by Chika sylva-Olejeme" and the website link to avoid the claim advertisment of the author and the website however the International Creed for Peace i still think is relevent in the discuss of Peace today i stand to be corrected [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]]) 19:30, 28 December 2007 (UTC)

:I'm responding to the [[Wikipedia:Administrators%27_noticeboard/Incidents#User:Motegole|ANI report]]. I've [http://en.wikipedia.org/w/index.php?title=Peace&diff=180747997&oldid=180663239 removed content] that clearly does not belong in this article. It is not notable and has been deleted from Wikipedia on that basis. This article is about peace, not peace organizations. Do not re-add this material to the article. [[User:Dreadstar|Dreadstar]] [[User talk:Dreadstar|†]] 05:14, 29 December 2007 (UTC)

fine thanks [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]]) 10:39, 29 December 2007 (UTC)

== Cleanup-rewrite ==

The current articel appears to be stuck somewhere between a disambiguation for various "types" of peace ("plural", "inner", etc.) and trying to explain what the concept is in general, with some extra directory like sections thrown in. If someone wants to rewrite or revise this, I suggest deciding what sort of a page this will be and then fixing or rewriting it. [[Special:Contributions/68.39.174.238|68.39.174.238]] ([[User talk:68.39.174.238|talk]]) 06:23, 3 January 2008 (UTC)

== too much "clean up" ==

i think the "clean up" is slowly reducing the article into a joke, i hope that the whole page will not soon be removed due to "clean up", it is unfortunate that those who do the "clean up" to not contribute to building up the page [[User:Motegole|Motegole]] ([[User talk:Motegole|talk]]) 09:02, 4 January 2008 (UTC)

== No edit wars, please. ==

Vandals, spammers and edit warriors, please keep yourselves from editing this page. Remember that this is not a battleground and this page is about peace. [[User:Alexius08|Alexius08]] [[User talk:Alexius08|is welcome to talk]] [[Special:Contributions/Alexius08|about his contributions]]. 22:17, 27 March 2008 (UTC)

== Peace Prize ==

Does anyone feel that the Nobel Peace Prize section is placed a bit too early in the article? I don't think the Nobels are a central concept of 'peace', worthy of being in the first paragraph after the lead. comments? [[User:Pedant|User:Pedant]] ([[User talk:Pedant|talk]]) 17:36, 22 April 2008 (UTC)

== Criticism ==

I dont see why there is no criticism section. There can never be "true" peace. One organism much consume/kill another to survive. One human must have some type of hegemony (even on the most minute scale). Any one can add anything to it or make some type of criticism.

Survival has nothing to do with peace.--[[Special:Contributions/108.20.189.221|108.20.189.221]] ([[User talk:108.20.189.221|talk]]) 03:07, 19 June 2012 (UTC)

== Picture ==
u shuld hve a pcture of lke john lennon of that guy on my shirt. thy is heaps more peacefull. or doves —Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/121.0.0.162|121.0.0.162]] ([[User talk:121.0.0.162|talk]]) 04:39, 7 May 2008 (UTC) 

I hope you don't mean Che, because communism ain't peaceful. Besides that, symbols of peace are cultural and don't fit in it directly. —Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/87.210.119.109|87.210.119.109]] ([[User talk:87.210.119.109|talk]]) 11:20, 15 April 2009 (UTC) 

== [[Pacification]] ==
Redirects here, while its meaning is quite different.--[[User:Piotrus|Piotr Konieczny aka Prokonsul Piotrus]]|[[User_talk:Piotrus| talk ]] 17:11, 26 June 2008 (UTC)

:I've added a section on [[peace#Peace in the presence of injustice|Peace in the presence of injustice]] which covers the perspective of those on the receiving end of a pacification policy. --[[User:Philip Baird Shearer|Philip Baird Shearer]] ([[User talk:Philip Baird Shearer|talk]]) 11:27, 29 June 2008 (UTC)

==Rewrites/Clean-up==
I re-wrote the first section of the article. It was very sloppily done, and from the moment I saw it I knew it needed re-writing. The very first sentence said something about peace being either a positive and negative condition, and that peace is a negative condition when associated with an unwillingness to engage in armed conflict????? I don't know. Didn't really make sense/sound good. The other sections look just as bad. Lots of work needs to be done on those sections. It looks like some biased trolls have been valdalizing this article, probably for a long time now. [[Special:Contributions/204.254.175.249|204.254.175.249]] ([[User talk:204.254.175.249|talk]]) 18:07, 1 December 2008 (UTC)

== Most of the stuff in this section should be moved to peace studies. ==

Peace is a general term, Please move the details of peace studies items to peace studies. [[User:Geo8rge|Geo8rge]] ([[User talk:Geo8rge|talk]]) 16:54, 25 May 2009 (UTC)

== Active Peace Theory ==

Active Peace Theory has very few google hits if any, and no references. I think it should be deleted as it is original research. Or moved to peace and conflict studies. [[User:Geo8rge|Geo8rge]] ([[User talk:Geo8rge|talk]]) 17:29, 25 May 2009 (UTC)

== Please move these sections to peace and conflict studies, create a new WP article to contain them, or delete them ==

These articles seem are too detailed for a general article like peace.
*Active Peace Theory- few if any google hits
*Plural peaces - few if any google hits
[[User:Geo8rge|Geo8rge]] ([[User talk:Geo8rge|talk]]) 17:58, 25 May 2009 (UTC)

==Redesign==

Okay so I just reviewed the article, a dreadful mess. What I do is repair articles. So I am going to do some major work on this article. I think the basic structure is there but needs clarification. There is a need for more sources which is the force thing I am going to do. [[User:Empireheart|Empireheart]] ([[User talk:Empireheart|talk]]) 08:02, 8 July 2009 (UTC)

==Definition==
"Peace" can mean a variety of things; this is not well explained in the article's definition. I suggest that the article is made a disambugation page stating that it may refer to
- a type of social relationship (aka 2 entities "[[being in peace]]" or "at peace with" )
- the duration of absence of conflict; aka a [[period of peace]] or period of absence of conflict

Finally, it should be mentioned that the opposite of peace isn't war (the latter being essantially a [[period of conflict]]), rather the opposite of a period of absence of conflict is a period of conflict

The opposite of [[Being in conflict]] (aka "Being at war") is "finding practical solutions to ensure that no conflicts can arise" (see http://gracetopia.wordpress.com/2009/07/19/the-opposite-of-war-isnt-peace-its-creation/) —Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/81.245.66.161|81.245.66.161]] ([[User talk:81.245.66.161|talk]]) 08:17, 27 July 2009 (UTC) 

== Homogenizing Theory ==

Mr. Inderias Dominic Bhatti, a role model peace hero from Pakistan ;<ref>http://www.findahero.com/HeroDetailsPrinterFriendly.cfm?SearchValue=351</ref> added his peace theory with a title '''Homogenizing Theory''' with these words below:

''' “Peace is a cycle of contentment starts from the very SELF of individual and regulates one’s consciousness and thinking patterns in such a way that homogenize ones individual liberty with collective and public good” ''' <ref>http://www.wiserearth.org/forum/view/56edc5a65c231e3c306e63c29527f96d</ref>

{{reflist-talk}}

== dove ==

the dove is a sign of peace. --[[User:WhiteInKnights|WhiteInKnights]] ([[User talk:WhiteInKnights|talk]]) 16:33, 4 January 2010 (UTC)

== Democratic peace theory ==

Democratic peace theory is simply a calque from Marxist peace theory which claims that in a socialist society there is no reason for war.--[[Special:Contributions/79.111.107.10|79.111.107.10]] ([[User talk:79.111.107.10|talk]]) 17:55, 6 May 2010 (UTC)

==Image==
Perhaps [[File:People_in_peace_and_at_war.png|thumb|right|150px|this image]] can be integrated to the article ?
[[Special:Contributions/91.182.232.33|91.182.232.33]] ([[User talk:91.182.232.33|talk]]) 14:10, 28 September 2010 (UTC)

==Peace as a code word?==
*Peace has been thrown around often. During the Cold War, Soviet dictators claimed they were "always in the interests of peace". Of course, their definition of "peace" was world communism. On that note, how is Islam a "religion of peace"? [[Special:Contributions/69.143.107.112|69.143.107.112]] ([[User talk:69.143.107.112|talk]]) 03:15, 16 February 2011 (UTC)

== Need more information about ways to achieve peace? ==

One should consider why people look at an article about peace. Are they simply interested in gathering more informaiton about the subject of peace in the same way that they would about, say, Lady Gaga? I don't think so. I believe that peace is what one could call a "lifestyle subject," in that one is interested in it not in a casual way but in a deeper way that could affect one's lifesytle. I therefore feel that there is a need for the article to list more ways to achieve peace, which is, after all, one of life's essential questions. That is why I added the ways to achieve peace given by Buddhism and the spiritual teacher [[Meher Baba]]. Wikipedia's motto, I think, is "the sum of all human knowledge," which is of course a tall order, but Wikipedia does seem to want to be rather inclusive.
[[User:Tentotwo55|Tentotwo55]] ([[User talk:Tentotwo55|talk]]) 17:24, 15 June 2011 (UTC)
: That's very subjective. See [[WP:COI]], [[WP:NPOV]], and [[WP:NOT#Wikipedia_is_not_a_manual.2C_guidebook.2C_textbook.2C_or_scientific_journal]]. [[User:Ohnoitsjamie|OhNoitsJamie]] [[User talk:Ohnoitsjamie|Talk]] 17:33, 15 June 2011 (UTC)

Ok, but at least add somewhere in the article that one definition of peace is the state of not wanting anything. It was taught by Krishna as "renouncing the fruits of one's actions" and by the Buddha as "desire is the cause of all suffering." It is one of the oldest religious concepts related to peace and should be included. A concise article is great, but a complete article is even better. — Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:Tentotwo55|Tentotwo55]] ([[User talk:Tentotwo55|talk]] • [[Special:Contributions/Tentotwo55|contribs]]) 17:58, 15 June 2011 (UTC) 

== Religious beliefs and peace ==

added interesting ref by Benedict XVI, connecting peace and ecology[[User:Unimpeder|Unimpeder]] ([[User talk:Unimpeder|talk]]) 13:01, 13 October 2012 (UTC)

World peace and global unity is something that is created or made manifest by this generation. A major player and effector of this is the Messiah. That is Andy Peak. Known by many names and the one who fulfilled and is fulfilling many prophecies in many ways, perceptions, religions, through healing, awakening, fishing, revealing truth, bringing freedom from slavery from the monetary system created by the wealthy elite to offer more choice and freedom the more no ey one has... without it we have severely reduced choices/freedoms. So that gets sorted... awakening of the planetary consciousness and Synchronizing with self, one another, the planet, God, and any and all other conscious entities in the galaxy and universe of galaxies beyond. [[User:GaianMonkey|GaianMonkey]] ([[User talk:GaianMonkey|talk]]) 23:14, 11 April 2018 (UTC)

Brings peace, love, unity and dreams and ways and ideas... [[User:GaianMonkey|GaianMonkey]] ([[User talk:GaianMonkey|talk]]) 23:16, 11 April 2018 (UTC)

== Introduction Disregards Content / Theories ==

The introduction currently specifies too much, more than a common denominator of the mentioned theories could be, and by such violates the article's content.

I suggest (for the whole article) incorporating a closer look at Dietrich's categorisation of 5 functionally different concepts of peace (cp.: Dietrich 2012: Interpretations of Peace in History and Culture; Dietrich 2013: Elicitive Conflict Transformation and the Transrational Shift in Peace Politics), as the article itself also mentions different philosophies. In energetic traditions (e.g. Buddhism) peace is related to unblocked flows, absence of Karma, or Tantric harmony and resonance. By the principle of Yin & Yang there is no freedom from violence (compare Krishnamurti), peace is not and cannot be static, but peace is a process and requires continuous effort. The only (static) state of being in peace is Buddha and/or emptiness. In moral understandings (e.g. Abrahamic religions) peace is related to absence of sin, guilt and fear (this is the moral aspect, this is not to deny that all religions show energetic aspects). Modernity (or modern peace) is more difficult to grasp. Generally it is related to the notion of universal truths as found in modern sciences, and in related non-humble 'attitudes' like positivism and progress. Derived from such a perspective is the idea that a peaceful society can be constructed, as in Marxism or institutionalised and constitutional democracy. Postmodernity acknowledges the context-dependency of truth, requires constant critique, and thereby denies the absence ofa unique truth. Postmodern peace is therefore a recognition of peaces as plural, "defined, relational, contextual, vernacular, and anything but arbitrary" (p. 207). Transrational concepts recognise the most complex rational model of the world as systemic (non-static complex web of interactions, causes, and effects), which is found in both postmodern and energetic perspectives, and which excludes a moral understanding of guilt. It also respects the processes that exceed humans' rational grasp, like emotions, a person's role in a larger system (as a recognising person is always part of the recognised, nobody can isolate and fully grasp her-/himself), and spirituality. Transrational peace does not prescribe (as opposed to modernity and development politics), is process- and not solution-oriented, and relation-oriented and leaves the interpretation of facts to the respective dynamics. It recognises all parties in a conflict as essential to be regarded.

In the light of the above families there can also be seen different concepts and theories like inner/external peace, positive/negative peace, etc.

This was just a quick, by far not exhaustive summary, probably with errors, and largely referring to the above mentioned books by Dietrich without detail references. I hope it clarifies why an introduction telling a common understanding is problematic. An intersection of understandings of peace across cultures (not philosophies) might be feelings of resonance, compassion, freedrom from fear, etc. Such are in the focus of energetic worldviews, and covered in terms like love (to God and others) within Abrahamic religions. I propose to contextualise such common descriptions.

I suggest therefore to rethink the introduction and the structure of the article from a philosophic meta-level (I mean at least one higher level of abstraction than present).

By the way, in all these different traditions there are different symbols for peace. The one shown stems from ND (nuclear disarmament) and is postmodern. Energetic ones include Yin & Yang. Moral ones include the dove of peace. Modern: white flag, V-Symbol. Transrational: Sri Yantra. However there are so many more - by culture and religion. — Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/83.175.89.114|83.175.89.114]] ([[User talk:83.175.89.114|talk]]) 13:58, 20 August 2013 (UTC) 
==Religious section goes into too much detail==
The section on "Religious Beliefs and Peace" goes into too much detail about Christianity. The specific way one is supposed to get into heaven is irrelevant, as is the quote from Pope Benedict. Also, the way one is supposed to go to heaven varies between sects. — Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/216.1.62.142|216.1.62.142]] ([[User talk:216.1.62.142|talk]]) 15:23, 23 January 2014 (UTC) 

== External links modified ==

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== Proposed merge with [[Peacetime]] ==

The topics of "peace" and "peacetime" seem to be closely interrelated. At this time, [[Peacetime]] is an unsatisfactory [[WP:DICDEF]] stub. It is probably better to discuss peacetime in politics as a subsection of the general topic "peace" for now, then branch it out into its own topic later if the discussion grows too long. [[User:Mz7|Mz7]] ([[User talk:Mz7|talk]]) 23:28, 9 September 2016 (UTC)
:I agree. --[[User:Daniele Pugliesi|Daniele Pugliesi]] ([[User talk:Daniele Pugliesi|talk]]) 04:46, 22 October 2016 (UTC)
::{{done}}. I've redirected [[Peacetime]] here. [[User:Mz7|Mz7]] ([[User talk:Mz7|talk]]) 02:14, 3 September 2017 (UTC)

== Sweden ==

Sweden participated in the war in Afghanistan from 2002 and in the war against Libya in 2011.
If the claim of ongoing peace is right it should mention by which definition Sweden has ongoing peace while partaking in wars. — Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/94.234.170.89|94.234.170.89]] ([[User talk:94.234.170.89|talk]]) 14:54, 12 September 2016 (UTC) 

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== External link? ==

The article cautions against adding more links but I think it would be appropriate to add a link to https://www.iep.utm.edu/peace/, which provides a more detailed encyclopedia article on the topic. The proposed link site is a piece of scholarship, not (like some of the previously existing links) an attempt to recruit partisans for some activity. What do others think? — Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:Aubreybardo|Aubreybardo]] ([[User talk:Aubreybardo#top|talk]] • [[Special:Contributions/Aubreybardo|contribs]]) 16:18, 8 July 2020 (UTC) 

== Peace ==

What flag should be raised in peace? [[Special:Contributions/2001:56A:FC70:E300:A928:1B59:D289:E72D|2001:56A:FC70:E300:A928:1B59:D289:E72D]] ([[User talk:2001:56A:FC70:E300:A928:1B59:D289:E72D|talk]]) 07:27, 6 March 2022 (UTC)

== Incorrect information in the caption of the 2nd picture ==

The second picture in this article (the one containing the goddess Eirene) may have incorrect information in the caption.
The caption states that the statue in the photo is of Eirene with her infant son Pluto, but I could find no information of Eirene having a son named Pluto on her Wikipedia page, and the name Pluto is usually used for the Roman equivalent of Hades, who was not Eirene's son, not to mention that calling Eirene's, a Greek goddess's, son by a Roman name would be incorrect.
I think the infant in the statue may instead be Plutus, the god of wealth and son of Demeter, because he is in the statue pictured on Eirene's page. If this is the case, someone should change the caption accordingly. [[Special:Contributions/90.128.57.150|90.128.57.150]] ([[User talk:90.128.57.150|talk]]) 16:52, 22 March 2022 (UTC)
:Yes, he is Plutus, good catch! [[User:Randy Kryn|Randy Kryn]] ([[User talk:Randy Kryn|talk]]) 17:08, 22 March 2022 (UTC)

== United people of the world for peace ==

The people of the world should know that sustainable peace can only happen with the cooperation of all people of all races and religions, please join the peace for all campaign. — Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/204.18.26.69|204.18.26.69]] ([[User talk:204.18.26.69#top|talk]]) 09:17, 17 February 2023 (UTC) 

== Re: Restoration of links for: [[Robert L. Holmes]] and [[Barry L. Gan]] ==

Ciao fellow Wikipedia editors: Just a quick note{ I reverted the edits on October 15,2024 by User: 2804:7f4:3d80:1554:d701:62fe:29ab:cc2d who objected to the inclusion of links to [[Robert L. Holmes]] and [[Barry L. Gan]] as "promotional spam", after claiming on October 7, 2024 that the use of a similar single sentence citing the contributions of these two modern scholars as "Undue weight" within a "general article". Several attempts to address the objections raised by User: 2804:7f4:3d80:1554:d701:62fe:29ab:cc2d have failed. Each of his criticisms seem unwarranted in so far as:
:1) The section '''Balance of Power''' in which the proposed additional sentence is included already includes specific references to several modern theorists who supported the balance of power doctrine of [[MAD]] including: [[Hans Morgenthau]], [[Henry Kissinger]], [[Martin Wight]] and [[Hedley Bull]] while also including specific references to their respective books (''Power Politics'' and ''the Anarchical Society'') as shown in the first paragraph of the section '''Balance of Power''' and
:2 )The inclusion of specific references to the peer reviewed writings of professional philosophers such as [[Robert L. Holmes]] and [[Barry L. Gan]] serves to introduce additional context to the paragraph in this section by illustrating that some critics in the post Cold War era objected to the doctrine of [[MAD]] not merely in classical "tactical terms" but from a "[[prima facie]]" ethical point of view.<ref>{{Cite book |last1=Holmes |first1=Robert L. |url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms |title=Nonviolence in Theory and Practice |last2=Gan |first2=Barry L. |date=2005 |publisher=Waveland Press |isbn=978-1-57766-349-2}}</ref><ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2216042.pdf |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref> This is in contrast to the objections raised by other critics as mentioned in the previous sentence who object on the grounds that nuclear weapons may serve as a tactical inducement to the emergence of "smaller wars". and
:3) The reference citations utilized to support the additional sentence are each from either peer reviewed journals which are available on JSTOR.ORG or from published texts presented by major publishers and are not specifically mentioned by name in the proposed text. Consequently it is not clear how they can be described as "promotional" in any manner or described as "Spam" or "blogs" as suggested by User:2804:7f4:3d80:1554:d701:62fe:29ab:cc2d.
I hope that this helps to clarify the restoration of these links and thanks again in advance for your thoughtful consideration and Happy Editing.[[Special:Contributions/160.72.80.178|160.72.80.178]] ([[User talk:160.72.80.178|talk]]) 20:40, 15 October 2024 (UTC)NHPL
{{Reflist}} [[Special:Contributions/160.72.80.178|160.72.80.178]] ([[User talk:160.72.80.178|talk]]) 20:40, 15 October 2024 (UTC)

Peace

2024-10-15T19:45:20Z

160.72.80.178: Undid revision 1251348469 by 2804:7F4:3D80:1554:D701:62FE:29AB:CC2D (talk) The text is not promotional and is relevant as an example of a prima facie criticism of Mutual assured Deterrence theory''~~~~NHPL

Peace

2024-10-15T17:18:13Z

160.72.80.178: /* Balance of power */''Included smaller reference links for Robert L. Holmes and Barry L. Gan''~~~~NHPL

Just war theory

2024-10-15T16:53:48Z

160.72.80.178: /* Just war tradition */ ''Included a more generalized reference link for: Robert L. Holmes and Barry L. Gan''~~~~NHPL

{{short description|Doctrine about when a war is ethically just}}
{{redirect|Just war|the 1996 science fiction novel|Just War (novel)}}
{{use dmy dates|date=July 2021}}
[[File:Gerard Seghers (attr) - The Four Doctors of the Western Church, Saint Augustine of Hippo (354–430).jpg|thumb|[[Augustine of Hippo|Saint Augustine]] was the first clear advocate of just-war theory.]]
{{war}}
The '''just war theory''' ({{lang-la|bellum iustum}})<ref>{{Cite book |last1=Cicero |first1=Marcus Tullius |url=http://archive.org/details/deofficiiswithen00ciceuoft |title=De officiis. With an English translation by Walter Miller |last2=Miller |first2=Walter |date=1913 |publisher=London Heinemann |others=Robarts - University of Toronto}}</ref><ref>{{Cite book |last1=Fellmeth |first1=Aaron X. |chapter=Bellum iustum |date=2009 |chapter-url=https://www.oxfordreference.com/view/10.1093/acref/9780195369380.001.0001/acref-9780195369380-e-285 |title=Guide to Latin in International Law |publisher=Oxford University Press |language=en |doi=10.1093/acref/9780195369380.001.0001 |isbn=978-0-19-536938-0 |access-date=2022-02-27 |last2=Horwitz |first2=Maurice}}</ref> is a [[doctrine]], also referred to as a tradition, of [[military ethics]] that aims to ensure that a war is morally justifiable through a series of [[#Criteria|criteria]], all of which must be met for a [[war]] to be considered just. It has been studied by military leaders, theologians, [[ethicist]]s and policymakers. The criteria are split into two groups: {{lang|la|[[#Jus ad bellum|jus ad bellum]]}} ("right to go to war") and {{lang|la|[[#Jus in bello|jus in bello]]}} ("right conduct in war"). The first group of criteria concerns the [[morality]] of going to war, and the second group of criteria concerns the moral conduct within war.<ref name="Tradition">{{cite book |last1=Guthrie |first1=Charles |last2=Quinlan |first2=Michael |year=2007 |title= Just War: The Just War Tradition: Ethics in Modern Warfare |isbn= 978-0747595571 |pages=11–15 |chapter=III: The Structure of the Tradition |publisher=Bloomsbury }}</ref> There have been calls for the inclusion of a third category of just war theory (''[[jus post bellum]]'') dealing with the morality of post-war settlement and reconstruction. The just war theory postulates the belief that war, while it is terrible but less so with the right conduct, is not always the worst option. The just war theory presents a justfiable means of war with justice being an objective of armed conflict.<ref>{{Cite book |last1=Andersen-Rodgers |first1=David |title=Human security: theory and action |last2=Crawford |first2=Kerry F. |date=2023 |publisher=Rowman & Littlefield |isbn=978-1-5381-5992-7 |edition=2nd |series=Peace and security in the 21st century |location=Lanham (Md.)}}</ref> Important responsibilities, undesirable outcomes, or preventable atrocities may justify war.<ref name="Tradition"/>

Opponents of the just war theory may either be inclined to a stricter [[Pacifism|pacifist]] standard (proposing that there has never been nor can there ever be a justifiable basis for war) or they may be inclined toward a more permissive [[Nationalism|nationalist]] standard (proposing that a war need only to serve a nation's interests to be justifiable). In many cases, [[Philosophy|philosophers]] state that individuals do not need to be plagued by a guilty conscience if they are required to fight. A few philosophers ennoble the virtues of the soldier while they also declare their apprehensions for war itself.<ref>{{Cite web|url=http://blogs.britannica.com/2010/03/william-james-on-peace-and-war/|title=William James on Peace and War|last=McHenry|first=Robert|date=22 March 2010|website=blogs.britannica.com|publisher=Britannica Blog|language=en-US|archive-url=https://web.archive.org/web/20151031190308/http://blogs.britannica.com/2010/03/william-james-on-peace-and-war/|archive-date=31 October 2015|url-status=dead|access-date=6 August 2017}}</ref> A few, such as [[Jean-Jacques Rousseau|Rousseau]], argue for insurrection against oppressive rule.

The historical aspect, or the "just war tradition", deals with the historical body of rules or agreements that have applied in various wars across the ages. The just war tradition also considers the writings of various philosophers and lawyers through history, and examines both their philosophical visions of war's ethical limits and whether their thoughts have contributed to the body of conventions that have evolved to guide war and warfare.<ref>{{Cite web|url=http://www.iep.utm.edu/justwar/|title=Just War Theory|website=Internet Encyclopedia of Philosophy|access-date=30 October 2016}}</ref>

In the [[21st century|twenty-first century]] there has been significant debate between traditional just war theorists, who largely support the existing [[law of war]] and develop arguments to support it, and [[revisionist just war theory|revisionists]] who reject many traditional assumptions, although not necessarily advocating a change in the law.<ref>{{cite journal |last1=Lazar |first1=Seth |title=Just War Theory: Revisionists Versus Traditionalists |journal=Annual Review of Political Science |date=2017 |volume=20 |issue=1 |pages=37–54 |doi=10.1146/annurev-polisci-060314-112706|doi-access=free }}</ref><ref>{{cite web |last1=Lazar |first1=Seth |title=War |url=https://plato.stanford.edu/entries/war/#TradRevi |website=The Stanford Encyclopedia of Philosophy |publisher=Metaphysics Research Lab, Stanford University |access-date=13 June 2023 |date=2020}}</ref>

==Origins==
===Ancient Egypt===
A 2017 study found that the just war tradition can be traced as far back as to [[Ancient Egypt]].<ref name="cox">{{Cite journal|last=Cox|first=Rory|title=Expanding the History of the Just War: The Ethics of War in Ancient Egypt|journal=International Studies Quarterly|volume=61|issue=2|page=371|doi=10.1093/isq/sqx009|year=2017|hdl=10023/17848|hdl-access=free}}</ref> Egyptian ethics of war usually centered on three main ideas, these including the cosmological role of Egypt, the pharaoh as a divine office and executor of the will of the gods, and the superiority of the Egyptian state and population over all other states and peoples. Egyptian political theology held that the pharaoh had the exclusive legitimacy in justly initiating a war, usually claimed to carry out the will of the gods. [[Senusret I]], in the [[Twelfth Dynasty]], claimed, "I was nursed to be a conqueror...his [Atum's] son and his protector, he gave me to conquer what he conquered." Later pharaohs also considered their sonship of the god Amun-Re as granting them absolute ability to declare war on the deity's behalf. Pharaohs often visited temples prior to initiating campaigns, where the pharaoh was believed to receive their commands of war from the deities. For example, [[Kamose]] claimed that "I went north because I was strong (enough) to attack the Asiatics through the command of Amon, the just of counsels." A [[stele]] erected by [[Thutmose III]] at the Temple of Amun at [[Karnak]] "provides an unequivocal statement of the pharaoh's divine mandate to wage war on his enemies." As the period of the [[New Kingdom of Egypt|New Kingdom]] progressed and Egypt heightened its territorial ambition, so did the invocation of just war aid the justification of these efforts. The universal principle of [[Maat]], signifying order and justice, was central to the Egyptian notion of just war and its ability to guarantee Egypt virtually no limits on what it could take, do, or use to guarantee the ambitions of the state.<ref name="cox" />

===India===
The Indian [[Hinduism|Hindu]] [[Indian epic poetry|epic]], the ''[[Mahabharata]]'', offers the first written discussions of a "just war" (''[[dharma-yuddha]]'' or "righteous war"). In it, one of five ruling brothers (''[[Pandava]]s'') asks if the suffering caused by war can ever be justified. A long discussion then ensues between the siblings, establishing criteria like ''proportionality'' ([[Ratha|chariots]] cannot attack cavalry, only other chariots; no attacking people in distress), ''just means'' (no poisoned or barbed arrows), ''just cause'' (no attacking out of rage), and fair treatment of captives and the wounded.<ref>{{cite book |author1=Paul Robinson |title=Just War in Comparative Perspective |year=2017 |isbn=9781351924528 |page=|publisher=Routledge }}</ref>

In [[Sikhism]], the term ''[[Dharamyudh (Sikhism)|dharamyudh]]'' describes a war that is fought for just, righteous or religious reasons, especially in defence of one's own beliefs. Though some core tenets in the Sikh religion are understood to emphasise peace and nonviolence, especially before the 1606 execution of [[Guru Arjan]] by [[Mughal Empire|Mughal]] Emperor [[Jahangir]],<ref name="Syan">{{Cite book |last=Syan |first=Hardip Singh |url=https://books.google.com/books?id=9RzzxcEL4C0C&pg=PA3 |title=Sikh Militancy in the Seventeenth Century: Religious Violence in Mughal and Early Modern India |date=2013 |publisher=I.B.Tauris |isbn=9781780762500 |location=London & New York |pages=3–4, 252 |access-date=15 September 2019}}</ref> military force may be justified if all peaceful means to settle a conflict have been exhausted, thus resulting in a ''dharamyudh''.<ref name="Fenech">{{Cite book |author1=Louis E. Fenech |title=Historical Dictionary of Sikhism |author2=W. H. McLeod |date=2014 |publisher=Rowman & Littlefield |isbn=9781442236011 |pages=99–100}}</ref>

===East Asian===
[[Chinese philosophy]] produced a massive body of work on warfare, much of it during the [[Zhou dynasty]], especially the [[Warring States era]]. War was justified only as a last resort and only by the rightful sovereign; however, questioning the decision of the emperor concerning the necessity of a military action was not permissible. The success of a military campaign was sufficient proof that the campaign had been righteous.<ref>{{Cite journal | url=https://irstudies.org/index.php/jirs/article/view/777/753| title= A Confucian Contribution to the Catholic Just War Tradition| journal=Journal of Interreligious Studies | date=2023 | author= Kwon, David}}</ref>

[[Japan]] did not develop its own doctrine of just war but between the 5th and the 7th centuries drew heavily from Chinese philosophy, and especially [[Confucianism|Confucian]] views. As part of the Japanese campaign to take the northeastern island [[Honshu]], Japanese military action was portrayed as an effort to "pacify" the [[Emishi]] people, who were likened to "bandits" and "wild-hearted wolf cubs" and accused of invading Japan's frontier lands.<ref name="routledge2004">{{cite book|url=https://books.google.com/books?id=DROBAV-DQ9IC&pg=PA20|title=Samurai, Warfare and the State in Early Medieval Japan|first=Karl F.|last=Friday |author1-link=Karl Friday |publisher=Routledge | date=2004 |pages=21–22|isbn=9781134330225}}</ref>

===Ancient Greece and Rome===
The notion of just war in Europe originates and is developed first in [[ancient Greece]] and then in the [[Roman Empire]].<ref>Gregory Raymond, ''The Greco-Roman Roots of the Western Just War Tradition'', Routledge 2010.</ref><ref>Rory Cox, "The Ethics of War up to Thomas Aquinas" in (eds. Lazar & Frowe) ''The Oxford Handbook of Ethics of War'', Oxford 2018.</ref><ref>Cian O'Driscoll, "Rewriting the Just War Tradition: Just War in Classical Greek Political Thought and Practice," International Studies Quarterly (2015).</ref>

It was [[Aristotle]] who first introduced the concept and terminology to the [[Hellenic world]] that called war a last resort requiring conduct that would allow the restoration of peace. Aristotle argues that the cultivation of a military is necessary and good for the purpose of self-defense, not for conquering: "The proper object of practising military training is not in order that men may enslave those who do not deserve slavery, but in order that first they may themselves avoid becoming enslaved to others" ([[Politics (Aristotle)|Politics]], Book 7).<ref>{{cite web |last1=Aristotle |title=Politics, Book 7 |url=http://www.perseus.tufts.edu/hopper/text?doc=Perseus:abo:tlg,0086,035:7 |website=Perseus Digital Library}}</ref>

In [[ancient Rome]], a "just cause" for war might include the necessity of repelling an invasion, or retaliation for pillaging or a breach of treaty.<ref>Livy 9.1.10; [[Cicero]], ''[[Divinatio in Caecilium]]'' 63; ''De provinciis consularibus'' 4; ''Ad Atticum'' VII 14, 3; IX 19, 1; ''Pro rege Deiotauro'' 13; ''[[De officiis]]'' I 36; ''Philippicae'' XI 37; XIII 35; ''De re publica'' II 31; III 35; [[Isidore of Seville]], ''Origines'' XVIII 1, 2; [[Modestinus]], ''Libro I regolarum'' = ''[[Corpus Juris Civilis|Digesta]]'' I 3, 40; [[E. Badian]], ''Roman Imperialism in the Late Republic'' (Ithaca 1968, 2nd ed.), p.11.</ref> War was always potentially ''[[nefas]]'' ("wrong, forbidden"), and risked [[Religion in ancient Rome|religious pollution and divine disfavor]].<ref>[[William Warde Fowler]], ''The Roman Festivals of the Period of the Republic'' (London 1925), pp. 33ff.; M. Kaser, ''Das altroemische Ius'' (Goettingen 1949), pp. 22ff; P. Catalano, ''Linee del sistema sovrannazionale romano'' (Torino 1965), pp. 14ff.; W. V. Harris, ''War and imperialism in Republican Rome, 327-70 B.C.'' (Oxford 1979), pp. 161 ff.</ref> A "just war" (''bellum iustum'') thus required a ritualized [[declaration of war|declaration]] by the [[fetial]] priests.<ref>[[Livy]] 1.32; 31.8.3; 36.3.9</ref> More broadly, conventions of war and treaty-making were part of the ''[[ius gentium]]'', the "law of nations", the customary moral obligations regarded as innate and universal to human beings.<ref>Cicero, ''De officiis'' 3.17.69; [[Marcia L. Colish]], ''The Stoic Tradition from Antiquity to the Early Middle Ages'' (Brill, 1980), p. 150.</ref>

===Christian views===
Christian theory of the Just War begins around the time of [[Augustine of Hippo]]<ref>[http://olympia.anglican.org/churches/B/stdunstan/Beliefs/Christians_War/Christians_War_2.htm Christians and War: Augustine of Hippo and the "Just War theory"] {{webarchive |url=https://web.archive.org/web/20061128152303/http://olympia.anglican.org/churches/B/stdunstan/Beliefs/Christians_War/Christians_War_2.htm |date=28 November 2006 }}</ref> The Just War theory, with some amendments, is still used by
Christians today as a guide to whether or not a war can be justified. Christians may argue "Sometimes war may be necessary and right, even though it may not be good." In the case of a country that has been invaded by an occupying force, war may be the only way to restore justice. <ref>{{cite web |date=27 September 2024 |title=Forgiveness What is a Just War? |url=https://www.bbc.co.uk/bitesize/guides/z2b36yc/revision/4 |url-status=dead |archive-url=https://www.bbc.co.uk/bitesize/guides/zbygjxs/revision/5 |archive-date=27 September 2024 |access-date=11 May 2020 |website=Bitesize |publisher=[[BBC]]}}</ref>

====Saint Augustine====
[[Saint Augustine]] held that individuals should not resort immediately to violence, but God has given the sword to government for a good reason (based upon Romans 13:4). In ''Contra Faustum Manichaeum'' book 22 sections 69–76, Augustine argues that Christians, as part of a government, need not be ashamed of protecting peace and punishing wickedness when they are forced to do so by a government. Augustine asserted that was a personal and philosophical stance: "What is here required is not a bodily action, but an inward disposition. The sacred seat of virtue is the heart."<ref>{{cite web|url=http://www.christianitytoday.com/ct/2001/septemberweb-only/9-17-55.0.html|title=A Time For War?|author=Robert L. Holmes|work=ChristianityToday.com|date=September 2001 |access-date=25 April 2015}}</ref>

Nonetheless, he asserted, peacefulness in the face of a grave wrong that could be stopped by only violence would be a sin. Defense of oneself or others could be a necessity, especially when it is authorized by a legitimate authority:<blockquote>They who have waged war in obedience to the divine command, or in conformity with His laws, have represented in their persons the public justice or the wisdom of government, and in this capacity have put to death wicked men; such persons have by no means violated the commandment, "Thou shalt not kill."<ref name=":0b">{{cite web|url=http://etext.lib.virginia.edu/etcbin/toccer-new2?id=AugCity.xml&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=all |archive-url=https://web.archive.org/web/20130725190746/http://etext.lib.virginia.edu/etcbin/toccer-new2?id=AugCity.xml&images=images%2Fmodeng&data=%2Ftexts%2Fenglish%2Fmodeng%2Fparsed&tag=public&part=all |title=City of God |archive-date=25 July 2013 |access-date=25 April 2015 |url-status=dead }}</ref></blockquote>While not breaking down the conditions necessary for war to be just, Augustine nonetheless originated the very phrase itself in his work [[City of God (book)|''The City of God'']]:

<blockquote>But, say they, the wise man will wage Just Wars. As if he would not all the rather lament the necessity of just wars, if he remembers that he is a man; for if they were not just he would not wage them, and would therefore be delivered from all wars.<ref name=":0b"/></blockquote>

Augustine further taught:
<blockquote>No war is undertaken by a good state except on behalf of good faith or for safety.<ref >City of God, 22.6, quoted in {{cite web |last1=Lockwood |first1=Thornton |title=Cicero's Philosophy of Just War |url=https://philarchive.org/archive/LOCCPO |website=PhilArchive |access-date=28 July 2023}} The text seems from a missing fragment of [[Cicero]]'s dialog [[On the Republic]], by the Laelius character.</ref></blockquote>

J. Mark Mattox writes,<blockquote>In terms of the traditional notion of jus ad bellum (justice of war, that is, the circumstances in which wars can be justly fought), war is a coping mechanism for righteous sovereigns who would ensure that their violent international encounters are minimal, a reflection of the [[Will of God|Divine Will]] to the greatest extent possible, and always justified. In terms of the traditional notion of jus in bello (justice in war, or the moral considerations which ought to constrain the use of violence in war), war is a coping mechanism for righteous combatants who, by divine edict, have no choice but to subject themselves to their political masters and seek to ensure that they execute their war-fighting duty as justly as possible.<ref name="augustine_war_and_peace_just_war">[http://www.iep.utm.edu/aug-poso/#SH3c Augustine: Political and Social Philosophy], §3-c "War and Peace – The Just War"</ref></blockquote>

====Isidore of Seville====
[[Isidore of Seville]] writes:
<blockquote>Those wars are unjust which are undertaken without cause. For aside from vengeance or to fight off enemies no just war can be waged. <ref >Etymologies 18.1.2-3, quoted in {{cite web |last1=Lockwood |first1=Thornton |title=Cicero's Philosophy of Just War |url=https://philarchive.org/archive/LOCCPO |website=PhilArchive |access-date=28 July 2023}}. The text seems from a missing fragment of [[Cicero]]'s dialog [[On the Republic]], by the Laelius character.</ref></blockquote>

====Peace and Truce of God====
{{Main|Peace and Truce of God}}
The medieval [[Peace_and_Truce_of_God#Peace_of_God|Peace of God]] (Latin: {{lang|la|pax dei}}) was a 10th century mass movement in Western Europe instigated by the clergy that granted immunity from violence for non-combatants.

Starting in the 11th Century, the [[Peace_and_Truce_of_God#Truce_of_God|Truce of God]] (Latin: {{lang|la|treuga dei}}) involved Church rules that successfully limited when and where fighting could occur: Catholic forces (e.g. of warring [[baron]]s) could not fight each other on Sundays, Thursdays, holidays, the entirety of [[Lent]] and [[Advent]] and other times, severely disrupting the conduct of wars. The 1179 [[Third Council of the Lateran]] adopted a version of it for the whole church.

====Saint Thomas Aquinas====
{{See|Thomas Aquinas#Just war}}

The just war theory by [[Thomas Aquinas]] has had a lasting impact on later generations of thinkers and was part of an emerging consensus in [[Medieval Europe]] on just war.<ref name=":1">{{Cite book|title=Thomas Aquinas on War and Peace|author=Gregory M. Reichberg|publisher=Cambridge University Press|year=2017|isbn=9781107019904|page=viii}}</ref> In the 13th century Aquinas reflected in detail on peace and war. Aquinas was a [[Dominican friar]] and contemplated the teachings of the Bible on peace and war in combination with ideas from [[Aristotle]], [[Plato]], [[Socrates]], [[Saint Augustine]] and other philosophers whose writings are part of the [[Western canon]]. Aquinas' views on war drew heavily on the {{lang|la|[[Decretum Gratiani]]}}, a book the Italian monk Gratian had compiled with passages from the Bible. After its publication in the 12th century, the {{lang|la|Decretum Gratiani}} had been republished with commentary from [[Pope Innocent IV]] and the Dominican friar [[Raymond of Penafort]]. Other significant influences on Aquinas just war theory were [[Alexander of Hales]] and [[Henry of Segusio]].<ref>{{Cite book|title=Thomas Aquinas on War and Peace|author=Gregory M. Reichberg|publisher=Cambridge University Press|year=2017|isbn=9781107019904|page=vii}}</ref>

In ''[[Summa Theologica]]'' Aquinas asserted that it is not always a [[sin]] to wage war, and he set out criteria for a just war. According to Aquinas, three requirements must be met. Firstly, the war must be waged upon the command of a rightful [[sovereign]]. Secondly, the war needs to be waged for just cause, on account of some wrong the attacked have committed. Thirdly, warriors must have the right intent, namely to promote good and to avoid evil.<ref>{{Cite book |last=Aquinas |first=Thomas |url=https://ccel.org/ccel/aquinas/summa/summa |title=Summa Theologica |publisher=Christian Classics Ethereal Library |pages=pt. II, sec. 2, q. 40, a. 1}}</ref><ref>{{Cite book|title=The Oxford Handbook of Ethics of War |editor=Seth Lazar |editor2=Helen Frowe|publisher=Oxford University Press|year=2018|isbn=9780199943418|page=114}}</ref> Aquinas came to the conclusion that a just war could be offensive and that injustice should not be tolerated so as to avoid war. Nevertheless, Aquinas argued that violence must only be used as a last resort. On the [[battlefield]], violence was only justified to the extent it was necessary. Soldiers needed to avoid cruelty and a just war was limited by the conduct of just combatants. Aquinas argued that it was only in the pursuit of justice, that the good intention of a moral act could justify negative consequences, including the killing of the innocent during a war.<ref>{{Cite book|title=The Oxford Handbook of Ethics of War |editor=Seth Lazar |editor2=Helen Frowe|publisher=Oxford University Press|year=2018|isbn=9780199943418|page=115}}</ref>

====Renaissance and Christian Humanists====
Various [[Renaissance humanists]] promoted [[Pacificist]] views.

* [[John Colet]] famously preached a Lenten sermon before Henry VIII, who was preparing for a war, quoting Cicero "Better an unjust peace rather than the justest war."<ref>{{cite journal |last1=MacKenzie |first1=Kathleen |title=John Colet of Oxford |journal=Dalhousie Review |volume=21 |issue=1 |pages=15–28 |url=https://dalspace.library.dal.ca/bitstream/handle/10222/57562/dalrev_vol21_iss1_pp15_28.pdf?sequence=1&isAllowed=y |access-date=28 July 2023}}</ref>
* [[Erasmus of Rotterdam]] wrote numerous works on peace which criticized Just War theory as a smokescreen and added [[Erasmus#Pacifism|extra limitations]], notably ''The Complaint of Peace'' and the ''[https://www.gutenberg.org/files/39487/39487-h/39487-h.htm Treatise on War]'' (Dulce bellum inexpertis).

A leading humanist writer after the Reformation was legal theorist [[Hugo Grotius]], whose [[Hugo_Grotius#De_Jure_Belli_ac_Pacis|''De jura belli ac pacis'']] re-considered Just War and fighting wars justly.

==== First World War ====
At the beginning of the [[First World War]], a group of theologians in [[Germany]] published a manifesto that sought to justify the actions of the German government. At the British government's request, [[Randall Davidson]], [[Archbishop of Canterbury]], took the lead in collaborating with a large number of other religious leaders, including some with whom he had differed in the past, to write a rebuttal of the Germans' contentions. Both German and British theologians based themselves on the just war theory, each group seeking to prove that it applied to the war waged by its own side.<ref>Mews, Stuart. "Davidson, Randall Thomas, Baron Davidson of Lambeth (1848–1930), Archbishop of Canterbury", [[Oxford Dictionary of National Biography]], [[Oxford University Press]], 2011.</ref>

====Contemporary Catholic doctrine====
The just war doctrine of the [[Catholic Church]] found in the 1992 ''[[Catechism of the Catholic Church]]'', in paragraph 2309, lists four strict conditions for "legitimate defense by military force:"<ref>{{cite book|title=Catechism of the Catholic Church|edition=2|publisher=Liberia Editrice Vaticana|isbn=1574551108|url=https://archive.org/details/catechismofcatho2000cath|access-date=25 April 2015|year=2000|url-access=registration}}</ref><ref>{{cite web|title=Just-War Theory, Catholic Morality, And The Response To International Terrorism.
|url=https://www.catholicculture.org/culture/library/view.cfm?id=4644|access-date=11 May 2020}}</ref>
* The damage inflicted by the aggressor on the nation or community of nations must be lasting, grave and certain.
* All other means of putting an end to it must have been shown to be impractical or ineffective.
* There must be serious prospects of success.
* The use of arms must not produce evils and disorders graver than the evil to be eliminated.

The ''[[Compendium of the Social Doctrine of the Church]]'' elaborates on the just war doctrine in paragraphs 500 to 501, while citing the [[Charter of the United Nations]]:<ref name="compendio">{{cite web|url=https://www.vatican.va/roman_curia/pontifical_councils/justpeace/documents/rc_pc_justpeace_doc_20060526_compendio-dott-soc_en.html|title=Compendium of the Social Doctrine of the Church|access-date=10 April 2024}}</ref>

{{quotation|If this responsibility justifies the possession of sufficient means to exercise this right to defense, States still have the obligation to do everything possible "to ensure that the conditions of peace exist, not only within their own territory but throughout the world". It is important to remember that "it is one thing to wage a war of self-defense; it is quite another to seek to impose domination on another nation. The possession of war potential does not justify the use of force for political or military objectives. Nor does the mere fact that war has unfortunately broken out mean that all is fair between the warring parties".

''The Charter of the United Nations ... is based on a generalized prohibition of a recourse to force to resolve disputes between States, with the exception of two cases: legitimate defence and measures taken by the Security Council within the area of its responsibilities for maintaining peace.'' In every case, exercising the right to self-defence must respect "the traditional limits of necessity and proportionality".

''Therefore, engaging in a preventive war without clear proof that an attack is imminent cannot fail to raise serious moral and juridical questions.'' International legitimacy for the use of armed force, on the basis of rigorous assessment and with well-founded motivations, can only be given by the decision of a competent body that identifies specific situations as threats to peace and authorizes an intrusion into the sphere of autonomy usually reserved to a State.||''[[Compendium of the Social Doctrine of the Church]]''<ref name="compendio"/>}}

Pope [[John Paul II]] in an address to a group of soldiers said the following:<ref>{{Cite web|url=https://www.catholiceducation.org/en/culture/catholic-contributions/the-church-s-just-war-theory-part-1.html/|title=The Church's Just War Theory|last=Saunders|first=William|website=Catholic Education Resource Center|date=19 October 2000 |language=en-US|access-date=10 May 2020}}</ref> {{Blockquote|Peace, as taught by Sacred Scripture and the experience of men itself, is more than just the absence of war. And the Christian is aware that on earth a human society that is completely and always peaceful is, unfortunately, an utopia and that the ideologies which present it as easily attainable only nourish vain hopes. The cause of peace will not go forward by denying the possibility and the obligation to defend it.}}

====Russian Orthodox Church====
The ''War and Peace'' section in the ''Basis of the Social Concept of the Russian Orthodox Church'' is crucial for understanding the [[Russian Orthodox Church]]'s attitude towards war. The document offers criteria of distinguishing between an aggressive war, which is unacceptable, and a justified war, attributing the highest moral and sacred value of military acts of bravery to a true believer who participates in a justified war. Additionally, the document considers the just war criteria as developed in Western Christianity to be eligible for Russian Orthodoxy; therefore, the justified war theory in Western theology is also applicable to the Russian Orthodox Church.<ref>{{cite journal|doi=10.3390/rel11010002|doi-access=free|title='Militant Piety in 21st-Century Orthodox Christianity: Return to Classical Traditions or Formation of a New Theology of War?|year=2019|last1=Knorre|first1=Boris|last2=Zygmont|first2=Aleksei|journal=Religions|volume=11|page=2}} [[File:CC-BY icon.svg|50px]] Text was copied from this source, which is available under a [https://creativecommons.org/licenses/by/4.0/ Creative Commons Attribution 4.0 International License].</ref>

In the same document, it is stated that wars have accompanied human history since the [[fall of man]], and according to [[the gospel]], they will continue to accompany it. While recognizing war as evil, the Russian Orthodox Church does not prohibit its members from participating in hostilities if there is the security of their neighbours and the restoration of trampled justice at stake. War is considered to be necessary but undesirable. It is also stated that the Russian Orthodox Church has had profound respect for soldiers who gave their lives to protect the life and security of their neighbours.<ref>{{cite web|url=https://mospat.ru/en/documents/social-concepts/viii/|title=Social Concepts, Chapter VIII.|language=en-US|access-date=10 May 2020|archive-date=9 June 2020|archive-url=https://web.archive.org/web/20200609115628/https://mospat.ru/en/documents/social-concepts/viii/|url-status=dead}}</ref>

===Just war tradition===
The just war theory, propounded by the medieval Christian philosopher [[Thomas Aquinas]], was developed further by legal scholars in the context of [[international law]]. [[Cardinal Cajetan]], the jurist [[Francisco de Vitoria]], the two [[Jesuit priest]]s [[Luis de Molina]] and [[Francisco Suárez]], as well as the [[humanist]] [[Hugo Grotius]] and the lawyer [[Luigi Taparelli]] were most influential in the formation of a ''just war tradition''. The just war tradition, which was well established by the 19th century, found its practical application in the [[Hague Peace Conferences]] (1899 and 1907) and in the founding of the [[League of Nations]] in 1920. After the [[United States Congress]] declared war on Germany in 1917, Cardinal [[James Gibbons]] issued a letter that all Catholics were to support the war<ref name=NCR>{{cite news|title=Ben Salmon and the Army of Peace |url= http://ncronline.org/blogs/road-peace/ben-salmon-and-army-peace |newspaper=[[National Catholic Reporter]] |author= John Dear |date= 23 February 2010}}</ref> because "Our Lord Jesus Christ does not stand for peace at any price... If by Pacifism is meant the teaching that the use of force is never justifiable, then, however well meant, it is mistaken, and it is hurtful to the life of our country."<ref>{{cite book|title= A History of the Parish of Trinity Church in the City of New York: The rectorship of Dr. William Thomas Manning 1908 to 1921|author=C. T. Bridgeman |year=1962|page=256}}</ref>

Armed conflicts such as the [[Spanish Civil War]], [[World War II]] and the [[Cold War]] were, as a matter of course, judged according to the norms (as established in Aquinas' just war theory) by philosophers such as [[Jacques Maritain]], [[Elizabeth Anscombe]] and [[John Finnis]].<ref name=":1" /> In the post cold war era, however, other scholars such as [[Robert L. Holmes]] and [[Barry L. Gan]] raised doubts concerning the continued suitability of "just war theory" norms in general.<ref name=":0">{{Cite journal |last=Holmes |first=Robert L. |date=2015 |title=The Metaethics of Pacifism and Just War Theory |url=https://onlinelibrary.wiley.com/doi/abs/10.1111/phil.12052 |journal=The Philosophical Forum |volume=46 |pages=3–15 |doi=10.1111/phil.12052}}</ref><ref>{{Cite book |last=Matthews |first=Gareth B. |url=https://books.google.com/books?id=ky6itexKzWcC&q=%2522Robert+L.+Holmes%2522+-wikipedia |title=The Augustinian Tradition: "St. Augutinr and the Just War Theory" |date=1999 |publisher=University of California Press |isbn=978-0-520-21001-1 |language=en}}</ref><ref>{{Cite book |last1=Holmes |first1=Robert L. |url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms |title=Nonviolence in Theory and Practice |last2=Gan |first2=Barry L. |date=2005 |publisher=Waveland Press |isbn=978-1-57766-349-2}}</ref><ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref>

The first work dedicated specifically to ''just war'' was the 15th-century sermon ''De bellis justis'' of [[Stanisław of Skarbimierz]] (1360–1431), who justified war by the [[Kingdom of Poland (1385–1569)|Kingdom of Poland]] against the [[Teutonic Knights]].<ref>{{Cite book |last=David |first=Saul |chapter-url= https://books.google.com/books?id=8Llw8JSZEXYC&dq=De+bellis+justis+Stanis%C5%82aw+of+Skarbimierz&pg=PA345 |title= The Encyclopedia of War from Ancient Egypt to Iraq |date=2009-10-01 |publisher=Dorling Kindersley Limited |isbn= 978-1-4053-4778-5 |pages= 345 |language= en |chapter= Ethics of War |author-link= Saul David}}</ref> [[Francisco de Vitoria]] criticized the conquest of America by the [[History of Spain|Spanish]] [[conquistador]]s on the basis of just-war theory.<ref>{{Cite journal| url= https://lawreview.avemarialaw.edu/wp-content/uploads/2019/06/AMLR.v.10i2.salas_.pdf| title= Francisco de Vitoria on the Ius Gentium and the American Indios| journal= Ave Maria Law Review| date= 2012| author= Victor M. Salas Jr.| access-date= 11 July 2022| archive-date= 9 December 2021| archive-url= https://web.archive.org/web/20211209150822/https://lawreview.avemarialaw.edu/wp-content/uploads/2019/06/AMLR.v.10i2.salas_.pdf| url-status= dead}}</ref> With [[Alberico Gentili]] and [[Hugo Grotius]], just war theory was replaced by [[international law]] theory, codified as a set of rules, which today still encompass the points commonly debated, with some modifications.<ref>[[Gutman]] R, Rieff D. ''[[Crimes of War]]: What the Public Should Know''. New York, NY: [[W. W. Norton & Company]]; 1999</ref>

Just-war theorists combine a moral abhorrence towards war with a readiness to accept that war may sometimes be necessary. The criteria of the just-war tradition act as an aid in determining whether resorting to arms is morally permissible. Just-war theories aim "to distinguish between justifiable and unjustifiable uses of organized armed forces"; they attempt "to conceive of how the use of arms might be restrained, made more humane, and ultimately directed towards the aim of establishing lasting peace and justice".<ref>{{cite web |url=http://www.justwartheory.com/ |title=JustWarTheory.com |publisher=JustWarTheory.com |access-date=16 March 2010 |archive-date=6 March 2019 |archive-url=https://web.archive.org/web/20190306044341/http://www.justwartheory.com/ |url-status=dead }}</ref>

The just war tradition addresses the morality of the use of force in two parts: when it is right to resort to armed force (the concern of ''[[jus ad bellum]]'') and what is acceptable in using such force (the concern of ''[[jus in bello]]'').<ref>{{cite web|url= http://www.eppc.org/publications/pubID.1998/pub_detail.asp |title= Home > Publications > |publisher= Eppc.org |date= 1 September 1998 |access-date= 16 March 2010 |url-status= dead |archive-url= https://web.archive.org/web/20090509230737/http://www.eppc.org/publications/pubID.1998/pub_detail.asp |archive-date=9 May 2009}}</ref>

In 1869 the Russian military theorist [[Genrikh Antonovich Leer]] theorized on the advantages and potential benefits of war.<ref>
{{cite book| author1 = Genrikh Antonovich Leer |title = Opyt kritiko-istoricheskogo issledovaniya zakonov isskusstva vedeniya voyny|script-title = ru:Опыт критико-исторического исследования законов искусства ведения войны |trans-title = Critico-historical research into the laws of the art of the conduct of war |publication-date = 1869 |page = 1ff | publisher=Рипол Классик |isbn = 9785458055901}} </ref>

The [[Soviet Union|Soviet]] leader [[Vladimir Lenin]] defined only three types of just war.<ref>{{cite web|title= Just Wars in the Light of Marxism|publisher=Marxists Internet Archive|first= Erich|last= Wollenberg|url= https://www.marxists.org/history/etol/newspape/ni/vol03/no01/wollenberg.htm}}</ref>

<blockquote>But picture to yourselves a slave-owner who owned 100 slaves warring against a slave-owner who owned 200 slaves for a more "just" distribution of slaves. Clearly, the application of the term "defensive" war, or war "for the defense of the fatherland" in such a case would be historically false, and in practice would be sheer deception of the common people, of philistines, of ignorant people, by the astute slaveowners. Precisely in this way are the present-day imperialist bourgeoisie deceiving the peoples by means of "national ideology" and the term "defense of the fatherland" in the present war between slave-owners for fortifying and strengthening slavery.<ref>{{cite web|title=Socialism and War, ch. 1|publisher=Marxists Internet Archive|first= Vladimir|last= Lenin |url= https://www.marxists.org/archive/lenin/works/1915/s-w/ch01.htm}}</ref></blockquote>

The [[anarcho-capitalist]] scholar [[Murray Rothbard]] (1926-1995) stated that "a ''just'' war exists when a people tries to ward off the threat of coercive domination by another people, or to overthrow an already-existing domination. A war is ''unjust'', on the other hand, when a people try to impose domination on another people or try to retain an already-existing coercive rule over them."<ref>{{cite web |url= https://www.lewrockwell.com/1970/01/murray-n-rothbard/whats-a-just-war/ |title=Just War |access-date=26 June 2019 |author=Murray N. Rothbard |website= lewrockwell.com}}</ref>

[[Jonathan Riley-Smith]] writes:
<blockquote>The consensus among Christians on the use of violence has changed radically since the crusades were fought. The just war theory prevailing for most of the last two centuries—that violence is an evil that can, in certain situations, be condoned as the lesser of evils—is relatively young. Although it has inherited some elements (the criteria of legitimate authority, just cause, right intention) from the older war theory that first evolved around AD 400, it has rejected two premises that underpinned all medieval just wars, including crusades: first, that violence could be employed on behalf of Christ's intentions for mankind and could even be directly authorized by him; and second, that it was a morally neutral force that drew whatever ethical coloring it had from the intentions of the perpetrators.<ref>{{cite web |title= Rethinking the Crusades |publisher= Catholic Education Resource Center |first=Jonathan R. |last=Smith |url= http://www.catholiceducation.org/articles/history/world/wh0042.html | url-status = dead | archive-url = https://web.archive.org/web/20010723130919/http://www.catholiceducation.org/articles/history/world/wh0042.html |archive-date=23 July 2001}}</ref>
</blockquote>

==Criteria==

The just war theory has two sets of criteria, the first establishing ''jus ad bellum'' (the right to go to war), and the second establishing ''jus in bello'' (right conduct within war).<ref name=Childress>{{Cite journal|author=Childress, James F.|title=Just-War Theories: The Bases, Interrelations, Priorities, and Functions of Their Criteria|journal=Theological Studies|volume=39|issue=3|year=1978|pages=427–445|author-link=James Childress|doi=10.1177/004056397803900302|s2cid=159493143}}</ref>

===''Jus ad bellum''===
{{Main|Jus ad bellum}}
;[[Competent authority]]: Only duly constituted public authorities may wage war. "A just war must be initiated by a political authority within a political system that allows distinctions of justice. Dictatorships (e.g. [[Adolf Hitler|Hitler]]'s regime) or deceptive military actions (e.g. the [[Operation Menu|1968 US bombing of Cambodia]]) are typically considered as violations of this criterion. The importance of this condition is key. Plainly, we cannot have a genuine process of judging a just war within a system that represses the process of genuine justice. A just war must be initiated by a political authority within a political system that allows distinctions of justice".<ref>{{cite web|url=http://oregonstate.edu/instruct/phl201/modules/just_war_theory/criteria_intro.html|title=Just War Theory|access-date=25 April 2015|archive-date=7 September 2013|archive-url=https://web.archive.org/web/20130907081045/http://oregonstate.edu/instruct/phl201/modules/just_war_theory/criteria_intro.html|url-status=dead}}</ref>
;Probability of success: According to this principle, there must be good grounds for concluding that aims of the just war are achievable.<ref name=Hubert&Weiss>Don Hubert and Thomas G. Weiss et al. "The Responsibility to Protect: Supplementary Volume to the Report of the International Commission on Intervention and State Sovereignty". (Canada: International Development Research Centre, 2001)</ref> This principle emphasizes that mass violence must not be undertaken if it is unlikely to secure the just cause.<ref name=SEP>{{Cite web
| title = War (Stanford Encyclopedia of Philosophy) | access-date = 2014-08-27| url = http://plato.stanford.edu/entries/war/#2.1 |website= plato.stanford.edu}}</ref> This criterion is to avoid invasion for invasion's sake and links to the proportionality criteria. One cannot invade if there is no chance of actually winning. However, wars are fought with imperfect knowledge, so one must simply be able to make a logical case that one can win; there is no way to know this in advance. These criteria move the conversation from moral and theoretical grounds to practical grounds.<ref>{{cite book|last=Seybolt|first=Taylor B.|title=Humanitarian Military Intervention: The Conditions for Success and Failure|date=January 2007|publisher=Oxford University Press|isbn=978-0-19-925243-5}}</ref> Essentially, this is meant to gather coalition building and win approval of other state actors.
;Last resort: The principle of last resort stipulates that all non-violent options must first be exhausted before the use of force can be justified. Diplomatic options, sanctions, and other non-military methods must be attempted or validly ruled out before the engagement of hostilities. Further, in regard to the amount of harm—proportionally—the principle of last resort would support using small intervention forces first and then escalating rather than starting a war with massive force such as [[carpet bombing]] or [[nuclear warfare]].<ref>{{cite web|title=Just War Theory and the Last of Last Resort - Ethics & International Affairs|url=https://www.ethicsandinternationalaffairs.org/2015/just-war-theory-last-last-resort/|website=Ethics & International Affairs|access-date=April 2, 2017|date=12 June 2015|archive-date=21 June 2015|archive-url=https://web.archive.org/web/20150621004346/https://www.ethicsandinternationalaffairs.org/2015/just-war-theory-last-last-resort/|url-status=dead}}</ref>
;Just cause: The reason for going to war needs to be just and cannot, therefore, be solely for recapturing things taken or punishing people who have done wrong; innocent life must be in imminent danger and intervention must be to protect life. A contemporary view of just cause was expressed in 1993 when the US Catholic Conference said: "Force may be used only to correct a grave, public evil, i.e., aggression or massive violation of the basic human rights of whole populations."

===''Jus in bello''===
Once war has begun, just war theory (''jus in bello'') also directs how [[combatant]]s are to act or should act:

;[[Distinction (law)|Distinction]]: Just war conduct should be governed by the principle of distinction. The acts of war should be directed towards enemy combatants, and not towards [[non-combatant]]s caught in circumstances that they did not create. The prohibited acts include bombing civilian residential areas that include no [[legitimate military target]]s, committing acts of [[terrorism]] or [[reprisal]] against civilians or prisoners of war (POWs), and attacking [[Neutrality (international relations)|neutral]] targets. Moreover, combatants are not permitted to attack enemy combatants who have surrendered, or who have been captured, or who are injured and not presenting an immediate lethal threat, or who are [[attacks on parachutists|parachuting from disabled aircraft]] and are not [[airborne forces]], or who are [[shipwreck]]ed.
;[[Proportionality (law)#International law|Proportionality]]: Just war conduct should be governed by the principle of proportionality. Combatants must make sure that the harm caused to civilians or civilian property is not excessive in relation to the concrete and direct military advantage anticipated by an attack on a [[legitimate military target|legitimate military objective]]. This principle is meant to discern the correct balance between the restriction imposed by a corrective measure and the severity of the nature of the prohibited act.
;[[Military necessity]]: Just war conduct should be governed by the principle of military necessity. An attack or action must be intended to help in the defeat of the enemy; it must be an attack on a [[legitimate military target|legitimate military objective]], and the harm caused to civilians or civilian property must be proportional and not excessive in relation to the concrete and direct military advantage anticipated. This principle is meant to limit excessive and unnecessary death and destruction.
;Fair treatment of [[prisoners of war]]: Enemy combatants who surrendered or who are captured no longer pose a threat. It is therefore wrong to torture them or otherwise mistreat them.
;No means [[malum in se]]: Combatants may not use weapons or other methods of warfare that are considered evil, such as [[mass rape]], forcing enemy combatants to fight against their own side or using weapons whose effects cannot be controlled (e.g., [[nuclear weapon|nuclear]]/[[biological weapons]]).

===Ending a war: ''Jus post bellum''===
In recent years, some theorists, such as Gary Bass, Louis Iasiello and Brian Orend, have proposed a third category within the just war theory. "[[Jus post bellum]] is described by some scholars as a new “discipline,” or as “a new category of international law currently under construction".<ref>{{Cite web |last=Brabandere |first=Eric De |date=February 2014 |title=7 The Concept of Jus Post Bellum in International Law: A Normative Critique |url=https://academic.oup.com/book/25936/chapter/193705796 |access-date=September 20, 2024 |website=Oxford Academic}}</ref> ''Jus post bellum'' concerns justice after a war, including peace treaties, reconstruction, environmental remediation, war crimes trials, and war reparations. ''Jus post bellum'' has been added to deal with the fact that some hostile actions may take place outside a traditional battlefield. ''Jus post bellum'' governs the justice of war termination and peace agreements, as well as the prosecution of war criminals, and publicly labelled terrorists. The idea has largely been added to help decide what to do if there are prisoners that have been taken during battle. It is, through government labelling and public opinion, that people use ''jus post bellum'' to justify the pursuit of labelled terrorist for the safety of the government's state in a modern context. The actual fault lies with the aggressor and so by being the aggressor, they forfeit their rights for honourable treatment by their actions. That theory is used to justify the actions taken by anyone fighting in a war to treat prisoners outside of war.<ref>{{cite book|title=Studies in Moral philosophy: Just War Theory|date=October 2012|publisher=Brill|isbn=978-9004228504 |page=187 | author1= Thom Brooks}}</ref><ref>{{cite book|title=Justice after War: Jus Post Bellum in the 21st Century|date=May 2023|publisher=Catholic University of American Press|isbn=978-0813236513 | author1= David Kwon}}</ref>

==See also==
* [[Appeasement]]
* [[Christian pacifism]]
* [[Cost–benefit analysis]]
* [[Democratic peace theory]]
* [[Deterrence theory]]
* [[Peace and conflict studies]]
* [[Right of conquest]]
* [[Moral equality of combatants]]

==References==
{{Reflist}}

{{Further reading cleanup|date=April 2024}}
==Further reading==
* Benson, Richard. [https://web.archive.org/web/20070928075431/http://www.the-tidings.com/2006/0825/benson.htm "The Just War Theory: A Traditional Catholic Moral View"], ''[[The Tidings (newspaper)|The Tidings]]'' (2006). Showing the Catholic view in three points, including [[John Paul II]]'s position concerning war.
* Blattberg, Charles. ''[https://ssrn.com/abstract=1723423 Taking War Seriously]''. A critique of just war theory.
* Brough, Michael W., John W. Lango, Harry van der Linden, eds., ''Rethinking the Just War Tradition'' (Albany, NY: [[SUNY Press]], 2007). Discusses the contemporary relevance of just war theory. Offers an annotated bibliography of current writings on just war theory.
* Brunsletter, D., & D. O'Driscoll, ''Just war thinkers from Cicero to the 21st century'' (Routledge, 2017).
* {{Cite journal |volume=50 |journal=[[UCLA Law Review]] |page=721|date=2002–2003 |title=By Any Means Necessary: Using Violence and Subversion to Change Unjust Law |author=Butler, Paul |url=http://heinonlinebackup.com/hol-cgi-bin/get_pdf.cgi?handle=hein.journals/uclalr50&section=40 |url-access=subscription |author-link=Paul Butler (professor) |via=HeinOnline}}
* Churchman, David. ''Why we fight: the origins, nature, and management of human conflict'' (University Press of America, 2013) [https://books.google.com/books?id=6nmXtBQxfSwC&dq=Churchman,+D.+(2013).+Just+war+in+eight+cultures.+Why+we+fight:+Origins,+nature,+and+management+of+human+conflict.+Lanham:+University+Press+of+America.&pg=PR5 online].
* Crawford, Neta. "Just War Theory and the US Countertenor War", ''Perspectives on Politics'' 1(1), 2003. [https://msuweb.montclair.edu/~lebelp/CrawfordJustWarTheoryOnTerror.pdf online]
* Elshtain, Jean Bethke, ed. ''Just war theory'' (NYU Press, 1992) [https://books.google.com/books?id=ygMVCgAAQBAJ&dq=Elshtain,+J.+(1992).+Just+war+theory.+New+York:+NYU.&pg=PP9 online].
* Evans, Mark (editor) ''Just War Theory: A Reappraisal'' ([[Edinburgh University Press]], 2005)
* [[Nick Fotion|Fotion, Nicholas]]. ''War and Ethics'' (London, New York: [[Continuum International Publishing Group|Continuum]], 2007). {{ISBN|0-8264-9260-6}}. A defence of an updated form of just war theory.
* [[Max Heindel|Heindel, Max]]. ''The Rosicrucian Philosophy in Questions and Answers – Volume II'' ([http://www.rosicrucian.com/2qa/2qaeng09.htm#question163 The Philosophy of War], ''World War I reference'', ed. 1918), {{ISBN|0-911274-90-1}} (Describing a philosophy of war and just war concepts from the point of view of his [[Rosicrucian Fellowship]])
* Gutbrod, Hans. ''Russia's Recent Invasion of Ukraine and Just War Theory'' ([https://globalpolicyjournal.com/blog/21/03/2022/russias-recent-invasion-ukraine-just-war-perspective "Global Policy Journal"], March 2022); applies the concept to Russia's February 2022 invasion of Ukraine.
* [[Robert L. Holmes|Holmes, Robert L.]] ''On War and Morality'' (Princeton University Press, 1989.<ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=TBoABAAAQBAJ&q=Robert+L.+Holms |title=On War and Morality |date=14 July 2014 |publisher=Princeton University Press |isbn=978-1-4008-6014-2}}</ref>
* Khawaja, Irfan. Review of Larry May, ''War Crimes and Just War'', in ''[[Democratiya]]'' 10, ([https://web.archive.org/web/20071214041110/http://www.democratiya.com/review.asp?reviews_id=124]), an extended critique of just war theory.
* Kwon, David. ''Justice after War: Jus Post Bellum in the 21st Century'' (Washington, D.C., Catholic University of America Press, 2023). {{ISBN|978-0-813236-51-3}}
* MacDonald, David Roberts. ''Padre E. C. Crosse and 'the Devonshire Epitaph': The Astonishing Story of One Man at the Battle of the Somme (with Antecedents to Today's 'Just War' Dialogue)'', 2007 [[Cloverdale Books]], South Bend. {{ISBN|978-1-929569-45-8}}
* McMahan, Jeff. "Just Cause for War," ''Ethics and International Affairs'', 2005.
* Nájera, Luna. "Myth and Prophecy in Juan Ginés de Sepúlveda's Crusading "Exhortación" {{Webarchive|url=https://web.archive.org/web/20110311124110/http://digitalcommons.asphs.net/bsphs/vol35/iss1/4/ |date=11 March 2011 }}, in ''Bulletin for Spanish and Portuguese Historical Studies'', 35:1 (2011). Discusses [[Juan Ginés de Sepúlveda|Sepúlveda]]'s theories of war in relation to the war against the Ottoman Turks.
* Nardin, Terry, ed. ''The ethics of war and peace: Religious and secular perspectives'' (Princeton University Press, 1998) [https://books.google.com/books?id=Gin-DwAAQBAJ&dq=Nardin,+T.+(Ed.).+(1996).+The+ethics+of+war+and+peace.+Princeton:+Princeton.&pg=PP7 online]
* [[Oliver O'Donovan|O'Donovan, Oliver]]. ''The Just War Revisited'' (Cambridge: Cambridge University Press, 2003).
* Steinhoff, Uwe. ''On the Ethics of War and Terrorism'' (Oxford, Oxford University Press, 2007). Covers the basics and some of the most controversial current debates.
* [[Michael Walzer|Walzer, Michael]]. ''Arguing about War'', (Yale University Press, 2004). {{ISBN|978-0-300-10978-8}}

==External links==
* {{cite IEP |url-id=justwar |title=Just war theory}}
* [http://catholicism.org/catholic-teaching-just-war.html Catholic Teaching Concerning Just War] at Catholicism.org
* [http://www.bbc.co.uk/programmes/p00545jx "Just War"] ''In Our Time'', BBC Radio 4 discussion with John Keane and Niall Ferguson (3 June 1999)

{{Ethics}}
{{anti-war}}

{{Authority control}}

[[Category:Military ethics]]
[[Category:Catholic social teaching]]
[[Category:Catholic theology and doctrine]]
[[Category:Just war theory| ]]
[[Category:Thomas Aquinas]]
[[Category:Christianity and violence]]

Robert L. Holmes

2024-10-15T16:38:01Z

160.72.80.178: /* Journal articles */ ''Correct title of article as per reference citation''~~~~NHPL

{{Short description|American philosopher}}
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'''Robert L. Holmes''' (December 28, 1935) is a [[Emeritus#In academia|Professor Emeritus]] of [[Philosophy]] at the [[University of Rochester]], and an expert on issues of [[peace]] and [[nonviolence]]. Holmes specializes in [[ethics]], and in [[social philosophy|social]] and [[political philosophy]]. He has written numerous articles and several books on those topics, and has been invited to address national and international conferences.

==Early life==
Holmes was raised in northern New York State by his parents who died when he was still in his teens. He graduated from [[Watertown, New York|Watertown]] High School in 1953 after serving as president of the student council, editor of the school magazine, and captain of a sectional championship cross country team. He also undertook studies in classical piano at the Watertown Conservatory of Music for ten years and won several awards while competing in New York City, Canada and Washington D. C.<ref name="robert-holmes.com">[https://www.robert-holmes.com/about Robert L. Holmes biography on robert-holmes.com]</ref>

Subsequently, Holmes earned his [[undergraduate degree]] in Philosophy cum laude from [[Harvard University]] in 1957. His honors thesis was "Plato's Concept of God". Soon thereafter he earned an M.A (1959) and [[Ph.D.]] (1961) in [[Philosophy]] from the [[University of Michigan]], where his dissertation was on "John Dewey's Ethics in the Light of Contemporary Metaethical Theory."<ref>[http://www.sas.rochester.edu/phl/people/faculty/holmes_robert/index.html University of Rochester - Faculty - Robert L. Holmes Professor Emeritus Professor of Philosophy - PhD. University of Michigan on sas.rochester.edu]</ref><ref>{{Cite web |title=Currents--November 9, 1998 |url=https://www.rochester.edu/currents/V26/V26N20/story1.html |access-date=2016-12-05 |website=www.rochester.edu}}</ref><ref name="robert-holmes.com"/>

==Career==
[[Image:URRushRhees.jpg|thumb|left|The Rush Rhees Library at University of Rochester, as seen from the Eastman Quadrangle.]]
Holmes joined the faculty at the [[University of Rochester]] in 1962.<ref>{{Cite web |title=Currents--November 9, 1998 |url=https://www.rochester.edu/currents/V26/V26N20/story1.html |access-date=2016-12-05 |website=www.rochester.edu}}</ref> By 1976 he acquired a fellowship at the National Humanities Institute at Yale University. Subsequently in 1983 he was appointed Senior Fulbright Lecturer at Moscow State university. He also served as a Faculty Fellow at the [[Kroc Institute for International Peace Studies]] at the [[University of Notre Dame]] in 1993.<ref>{{Cite book |url=https://books.google.com/books?id=24x6EAAAQBAJ&dq=University+of+Michigan+Dissertation+Robert+L.+Holmes&pg=PA319 |title=From the Eye of the Storm: Regional Conflicts and the Philosophy of Peace |date=4 July 2022 |publisher=BRILL |isbn=978-90-04-45880-2 |page=319}}</ref> In 1998, Holmes was appointed to the newly established Rajiv Gandhi Chair in Peace and Disarmament at [[Jawaharlal Nehru University]] in New Delhi, India, where he shaped the mission of the chair on instruction, research, and lectures.<ref>{{Cite web |title=Currents--November 9, 1998 |url=https://web.archive.org/web/20170318193059/https://www.rochester.edu/currents/V26/V26N20/story1.html |access-date=2016-12-05 |website=www.rochester.edu}}</ref><ref>[https://www.rochester.edu/news/printable.php?id=1196 University of Rochester Press Release: "University of Rochester 151st Commencement Highlights" April 25, 2001, p. 2 "Robert L. Holmes is a professor of philosophy ...appointed to the Rajiv Gandhi Chair in Peace and Disarmament at Jawaharlal Nehru University in New Delhi, India" on rochester.edu]</ref><ref>[https://www.robert-holmes.com/about Robert L. Holmes - "Positions Held: Jawaharlal Nehru University, New Dehli, India First recipient of the Rajiv Gandhi Chair in Peace and Disarmament, 1998-1999" biography on robert-holmes.com]</ref>

While serving on the faculty at the [[University of Rochester]], his lectures were always eagerly anticipated by students of the [[humanities]] as well as the [[sciences]]. He received the Edward Peck Curtis Award for Undergraduate Teaching in 2001 and the Professor of the Year Award in Humanities in 2006. At the 2007 convocation ceremony, Holmes was awarded the Goergen Award for Distinguished Achievement and Artistry in Undergraduate Teaching. Also, Holmes is known for being one of the very few professors to receive perfect or near perfect reviews every year since the university began student review services in 2001.<ref>[https://www.sbu.edu/support-sbu/advancement-news/2012/03/12/noted-expert-on-nonviolence-to-talk-about-social-inequality-thursday-at-st.-Bonaventure "St. Bonaventure University - Noted Expert on Nonviolence to talk about social inequality Thursday at St. Bonaventure" - Robert L. Holmes Biography on sbu.edu]</ref>

During the course of an academic career which has spanned over forty years, Holmes has held a variety of scholarly positions including: [[Fulbright Fellow]] at [[Moscow State University]] and a visiting professor at Notre Dame, [[Hamilton College]] as well as an instructor at the [[University of Texas at Austin]].<ref>[https://www.robert-holmes.com/about Robert L. Holmes Biography on robert-homes.com]</ref> In addition, he served as an editor of the philosophical journal ''[[Public Affairs Quarterly]]'' (1995-1999),<ref name="robert-holmes.com"/> contributed to the editorial review boards of both ''[[Social Theory and Practice]]'' (1975-1995) <ref>{{Cite book |url=https://books.google.com/books?id=lIpR-i9aawoC&q=Robert+Holmes+Editor+Social+Theory+and+Practice+Editorial+Committee |title=Social Theory and Practice |date=1993 |page=114}}</ref> and ''[[The Acorn: Journal of the Gandhi-King Society]]'' (1990-2003)<ref name="robert-holmes.com"/> and also participated on the national board of the [[Fellowship of Reconciliation (United States)|Fellowship of Reconciliation]].<ref>{{Cite book |last=Matthews |first=Gareth B. |url=https://books.google.com/books?id=ky6itexKzWcC&dq=Robert+Holmes++Editor+Public+Affairs+Quarterly&pg=PA384 |title=The Augustinian Tradition |date=1999 |publisher=University of California Press |isbn=0-520-20999-0 |page=384}}</ref> He was also a longtime adviser to the University of Rochester Undergraduate Philosophy Council.<ref>[https://www.sbu.edu/support-sbu/advancement-news/2012/03/12/noted-expert-on-nonviolence-to-talk-about-social-inequality-thursday-at-st.-bonaventure "St. Bonaventure University - Noted Expert on Nonviolence to talk about social inequality Thursday at St. Bonaventure"] - Robert L. Holmes Biography on sbu.edu</ref> In 1992 he also served as president of the professional organization [[Concerned Philosophers for Peace]] which strives to improve international understanding and peace through scholarly analysis of the causes of war.<ref>[http://peacephilosophy.org/about-cpp ''Concerned Philosophers for Peace - Officers- Presidents''] on peacephilosophy.org</ref>

{{ external media|width=175px|image1=Photograph of Professor Robert L. Holmes at the University of Rochester on [https://www.sas.rochester.edu/phl/people/faculty/holmes_robert/index.html '''Rochester.edu''']}}

Holmes is the author of several comprehensive texts on the subject of [[moral philosophy]]. Included among his publications is a collaborative work undertaken in 1968 with [[Lewis White Beck]] - a noted scholar on [[Kantian ethics]] (''Philosophical Inquiry: An Introduction to Philosophy'').<ref name="Prentice-Hall">{{Cite book |last1=Beck |first1=Lewis White |url=https://books.google.com/books?id=K7cXtgEACAAJ |title=Philosophic Inquiry: An Introduction to Philosophy |last2=Holmes |first2=Robert L. |date=1968 |publisher=Prentice-Hall |isbn=978-0-13-662494-3}}</ref><ref>[http://www.rochester.edu/news/show.php?id=1330 "Philosopher, Scholar Lewis White Beck Dies"] on Rochester.edu.news]</ref> Subsequently, in 2001 he served as a contributory author to the book ''Kant's Legacy: Essays in Honor of Lewis White Beck'' with an essay on ''Consequentialism and Its Consequences''.<ref>{{Cite book |last=Cicovacki |first=Predrag |url=https://books.google.com/books?id=SWg9hOtdzIIC&q=Robert+Holmes |title=Kant's Legacy: Essays in Honor of Lewis White Beck |date=2001 |publisher=University Rochester Press |isbn=1-58046-053-4 |pages=227–244}}</ref> He also coauthored a work in 2005 with [[Barry L. Gan]] - Director of the Center for Nonviolence at [[St. Bonaventure University]] (''Nonviolence in Theory and Practice'').<ref>[https://www.sbu.edu/about-sbu/people-of-sbu/faculty-profiles/gan-barry-l- ''St. Bonaventure University Profiles - Barry L. Gan: Director of the Center for Nonviolence'' on sbu.edu]</ref><ref>{{cite book | url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms | title=Nonviolence in Theory and Practice | isbn=978-1-57766-349-2 | last1=Holmes | first1=Robert L. | last2=Gan | first2=Barry L. | date=2005 | publisher=Waveland Press }}</ref> In addition, he has published numerous papers in several academic [[peer-reviewed]] journals including: ''[[Analysis (journal)|Analysis]]'', ''[[Ethics (journal)|Ethics]]'', ''[[International Philosophical Quarterly]]'', ''[[Journal of Medicine and Philosophy]]'', ''[[Journal of Value Inquiry]]'', ''[[Mind (journal)|Mind]]'', ''[[The Monist]]'', ''[[The Philosophical Forum]]'', and ''The [[Review of Metaphysics]]''.<ref>[https://scholar.google.com/scholar?q=%22Robert+L.+Holmes%22 ''Robert L. Holmes''] on scholar.google.com</ref><ref name="Holmes 1990 143–159">{{Cite journal |last=Holmes |first=R. L. |date=1990 |title=The Limited Relevance of Analytical Ethics to the Problems of Bioethics |url=https://academic.oup.com/jmp/article-lookup/doi/10.1093/jmp/15.2.143 |journal=Journal of Medicine and Philosophy |language=en |volume=15 |issue=2 |pages=143–159 |doi=10.1093/jmp/15.2.143 |pmid=2351891 |issn=0360-5310}}</ref><ref name="Holmes 1974 96–100">{{Cite journal |last=Holmes |first=Robert L. |date=1974 |title=Is Morality a System of Hypothetical Imperatives? |url=https://www.jstor.org/stable/3327492 |journal=Analysis |volume=34 |issue=3 |pages=96–100 |doi=10.2307/3327492 |jstor=3327492}}</ref><ref name=":0">{{Cite journal |last=Holmes |first=Robert L. |date=2015 |title=The Metaethics of Pacifism and Just War Theory |url=https://onlinelibrary.wiley.com/doi/abs/10.1111/phil.12052 |journal=The Philosophical Forum |volume=46 |pages=3–15 |doi=10.1111/phil.12052}}</ref><ref name="Holmes 1966 42–70">{{Cite journal |last=Holmes |first=Robert L. |date=1966 |title=John Dewey's Moral Philosophy in Contemporary Perspective |url=https://www.jstor.org/stable/20124148 |journal=The Review of Metaphysics |volume=20 |issue=1 |pages=42–70 |jstor=20124148}}</ref><ref>{{cite journal | url=https://link.springer.com/article/10.1007%2FBF00208793?LI=true | doi=10.1007/BF00208793 | title=John Dewey's social ethics | date=1973 | last1=Holmes | first1=Robertl. | journal=The Journal of Value Inquiry | volume=7 | issue=4 }}</ref><ref name="Holmes 1964 392–406">{{Cite journal |last=Holmes |first=Robert L. |date=1964 |title=The Development of John Dewey's Ethical Thought |url=https://www.pdcnet.org/pdc/bvdb.nsf/purchase?openform&fp=monist&id=monist_1964_0048_0003_0392_0406 |journal=The Monist |language=en |volume=48 |issue=3 |pages=392–406 |doi=10.5840/monist196448324}}</ref><ref>{{cite journal | url=https://www.journals.uchicago.edu/doi/abs/10.1086/291878?journalCode=et | doi=10.1086/291878 | title=University Neutrality and ROTC | date=1973 | last1=Holmes | first1=Robert L. | journal=Ethics | volume=83 | issue=3 | pages=177–195 }}</ref><ref name="Holmes 1997 483–484">{{Cite journal |last=Holmes |first=Robert L. |date=1997 |title=Just War: Principles and Cases |url=https://www.pdcnet.org/pdc/bvdb.nsf/purchase?openform&fp=ipq&id=ipq_1997_0037_0004_0483_0484 |journal=International Philosophical Quarterly |language=en |volume=37 |issue=4 |pages=483–484 |doi=10.5840/ipq199737453}}</ref><ref name="Holmes 1964 291–295">{{Cite journal |last=Holmes |first=Robert L. |date=1964 |title=The Case Against Ethical Naturalism |url=https://www.jstor.org/stable/2251823 |journal=Mind |volume=73 |issue=290 |pages=291–295 |doi=10.1093/mind/LXXIII.290.291 |jstor=2251823}}</ref>

Holmes is currently a Professor Emeritus at the University of Rochester but no longer instructs students on campus.<ref>[http://www.sas.rochester.edu/phl/people/faculty/holmes_robert/index.html University of Rochester - Faculty - Robert L. Holmes Professor Emeritus Professor of Philosophy on sas.rochester.edu]</ref>

==Moral philosophy==

Over the course of the past forty years, Holmes has addressed several interrelated [[moral dilemmas]] posed in the modern age including [[terrorism]], [[nuclear deterrence]] and [[armed conflict]] in general. In his book ''On War and Morality'' (1989) he offers a robust philosophical defense of [[pacifism]] and its application in a world which is plagued with recurrent outbursts of international violence despite its adherence to upholding the principles of nuclear deterrence and [[mutual assured destruction]] (MAD) since the emergence of the cold war era. Holmes rejects a reliance upon such an irrational set of principles and dismisses them as morally wrong. Instead, he advances a form of "moral personalism" based upon the maxim that any intelligible moral theory must include an abiding interest in the lives and well being of all people. In his view, violence is a form of abrogation of this maxim which is prima facia wrong and that [[Just war theory|Just War Theories]] in general are inadequate to the task of surmounting such a moral presumption.<ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2216042.pdf |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref><ref name="Holmes">{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=yGx-2-maackC |title=The Ethics of Nonviolence: Essays by Robert L. Holmes |date=20 June 2013 |publisher=Bloomsbury |isbn=978-1-62356-962-4}}</ref>

Holmes offers a systematic critical review of the two major schools of thought which claim to defend warfare in the modern world. In the first group are the "positivistic realists" who claim that concepts of "right" or "wrong" are irrelevant in international affairs and the "normative realists" who claim that moral considerations should not be permitted to play a role in determining foreign policy. Holmes dismisses the later by observing that they have misread the history of the twentieth century by suggesting the Wilsonian idealism inevitably led to the onset of World War II and confuse morality with moralism.<ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/2185583 |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Review of On War and Morality; Paths to Peace: Exploring the Feasibility of Sustainable Peace |url=https://www.jstor.org/stable/1961738 |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |issn=0003-0554 |jstor=1961738}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/2216042 |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref><ref name="Holmes"/>

In the second group, Holmes identifies the defenders of just war theories. Holmes rejects their attempts to justify the taking of innocent human lives in order to save other innocent human lives as morally unjustifiable in so far as both killing and any appeal to violence is morally unjustified in the first place, despite the consequences which may follow from such an act. Even if a war is considered "just" in accordance with the standards of ''jus ad ballo'' or ''jus in bello'', it may not be deemed morally acceptable based upon a consideration of the organized violence which it engenders in the modern world<ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2216042.pdf |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref><ref name="Holmes"/>

With this in mind, Holmes outlines a four stage argument to support the view that warfare is unjustified even within the context of modern world conditions. First he observes that warfare in general cannot be justified if the means of waging the war are, when taken by themselves, also morally unjustified. Secondly, he contends that modern warfare by its very nature inevitably involves the killing of innocent people. Thirdly, he denies that the presumption against killing innocent people can be overridden by conditions related to the waging of war. Lastly, he identifies nonviolence as an embodiment of a viable alternative to warfare. Specifically, he outlines a [[Gandhian]] approach to resolving conflicts, which rejects the utilization of mutual concessions in order to achieve a provisional or temporary standoff between the waring parties. This is replaced with a process of actively creating peace through negotiations which engender mutual progress for all parties involved in the conflict.
Taken together, these arguments suggest that an appeal to nonviolence is a viable ethical alternative even within the modern world.<ref>{{Cite journal |last=Meyers |first=Diana T. |date=1992 |title=Reviewed work: On War and Morality, Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2185583.pdf |journal=The Philosophical Review |volume=101 |issue=2 |pages=481–484 |doi=10.2307/2185583 |jstor=2185583}}</ref><ref>{{Cite journal |last=Lee |first=Steven |date=1992 |title=Reviewed work: On War and Morality., Robert L. Holmes |url=https://www.jstor.org/stable/pdf/2216042.pdf |journal=Noûs |volume=26 |issue=4 |pages=559–562 |doi=10.2307/2216042 |jstor=2216042}}</ref><ref>{{Cite journal |last=Rock |first=Stephen R. |date=1989 |title=Reviewed work: On War and Morality, Robert L. Holmes; Paths to Peace: Exploring the Feasibility of Sustainable Peace, Richard Smoke, Willis Harman |url=https://www.jstor.org/stable/pdf/1961738.pdf |journal=The American Political Science Review |volume=83 |issue=4 |pages=1447–1448 |doi=10.2307/1961738 |jstor=1961738}}</ref><ref name="Holmes"/>

In his more recent book, ''Pacifism: A Philosophy of Nonviolence'' Holmes offers a supplement to the analysis presented above. Here, Holmes ventures beyond philosophical considerations of how to best distinguish between ''just wars'' and ''unjust wars'' in particular and presents an analysis of what he describes as a more "basic moral question" by exploring the general case of whether war is ''ever'' morally permissible. This is accomplished by examining the concept of warfare from a more global perspective, as opposed to concentrating primarily on the particular subjective perceptions of "just" or "unjust" outcomes which may prevail among the combatants. With this in mind, he offers a critical review of the "constellation of social, political, economic, religious and ethical values and practices" which are required to wage war systematically over time. He concludes by arguing that a prima facie presumption against warfare in general is sufficiently compelling in the modern era due to a variety of factors including: the killing of both innocent and non-innocents alike, the inevitable displacement of large populations of people, along with the inevitable harm done to both animal life and the environment in the long term.<ref>[https://ndpr.nd.edu/reviews/pacificism-a-philosophy-of-nonviolence/ ''Notre Dame Philosophical Reviews'' - "Pacifism A Philosophy of Nonviolence" by Robert L. Holmes. Book review presented by Cheyney Ryan, the University of Oxford 6/7/2017 archived at the University of Notre Dame on ndpr.nd.edu]</ref> Stated more simply, "To be a pragmatic pacifist one need only hold that the large-scale, organized and systematic violence of war is impermissible in today's world."<ref>[https://ndpr.nd.edu/reviews/pacificism-a-philosophy-of-nonviolence/ ''Pacifism A Philosophy of Nonviolence''. Holmes, Robert L. Bloomsbury, London, 2017 pp.265-266, "Notre Dame Philosophical Reviews" - "Pacifism A Philosophy of Nonviolence" Book review presented by Cheyney Ryan, the University of Oxford 6/7/2017 archived at the University of Notre Dame on ndpr.nd.edu]</ref>

== Publications ==
{{ external media|width=175px|video1=You may preview selections from Holmes' book ''The Ethics of Nonviolence - Essays by Robert L. Holmes'' on [https://books.google.com/books?id=0XbHAgAAQBAJ&q=Robert+L.+Holms '''books.google.com''']}}

===Texts===
Included among Robert L. Holmes publications are the following texts:<ref>[https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=Robert+L.+Holmes&btnG= Robert L. Holmes' publications on Google Scholar]</ref>
*''Basic Moral Philosophy'' by Robert L. Holmes<ref name="Jr.2008">{{Cite book |last=Ghiraldelli |first=Paulo Jr. |url=https://books.google.com/books?id=LVKkH52zb1kC&pg=PA111 |title=Contemporary pragmatism |date=February 2008 |publisher=Rodopi |isbn=978-90-420-2371-0 |pages=111– |accessdate=9 August 2011}}</ref><ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=BxH7CAAAQBAJ&q=Robert+L.+Holms |title=Basic Moral Philosophy |date=8 October 2014 |publisher=Cengage Learning |isbn=978-1-305-89026-8}}</ref>
* ''Introduction to Applied Ethics'' by Robert L. Holmes <ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=a6BIDwAAQBAJ&q=Robert+L.+Holms |title=Introduction to Applied Ethics |date=22 February 2018 |publisher=Bloomsbury |isbn=978-1-350-02982-8}}</ref>
* ''Kant's Legacy: Essays in Honor of Lewis White Beck'' Editor: Predrag Cicovacki. Contributor: Robert L. Holmes -"Consequentialism and its Consequences".<ref>{{Cite book |last=Cicovacki |first=Predrag |url=https://books.google.com/books?id=SWg9hOtdzIIC&q=Robert+Holmes |title=Kant's Legacy: Essays in Honor of Lewis White Beck |date=2001 |publisher=University Rochester Press |isbn=978-1-58046-053-8}}</ref>
* ''Nonviolence in Theory and Practice'' by Robert L. Holmes and Barry L. Gan <ref>{{Cite book |last1=Holmes |first1=Robert L. |url=https://books.google.com/books?id=UKg4bwAACAAJ&q=Robert+L.+Holms |title=Nonviolence in Theory and Practice |last2=Gan |first2=Barry L. |date=2005 |publisher=Waveland Press |isbn=978-1-57766-349-2}}</ref>
* ''On War and Morality'' by Robert L. Holmes <ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=TBoABAAAQBAJ&q=Robert+L.+Holms |title=On War and Morality |date=14 July 2014 |publisher=Princeton University Press |isbn=978-1-4008-6014-2}}</ref>
* ''Philosophic Inquiry: An Introduction to Philosophy'' by Lewis White Beck and Robert L. Holmes <ref name="Prentice-Hall"/>
* ''Pacifism: A Philosophy of Nonviolence'' by Robert L. Holmes<ref name="Pacifism-2016">{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=Dq4mDQAAQBAJ&q=pacifism+holmes |title=Paficism: A Philosophy of Nonviolence |date=December 2016 |publisher=Bloomsbury |isbn=978-1-4742-7983-3 |pages=368– |accessdate=4 December 2016}}</ref>
* ''The Ethics of Nonviolence - Essays by Robert L. Holmes'' Editor: Predrag Cicovacki, Bloomsbury, USA on books.google.com<ref>{{Cite book |last=Holmes |first=Robert L. |url=https://books.google.com/books?id=0XbHAgAAQBAJ&q=Robert+L.+Holms |title=The Ethics of Nonviolence: Essays by Robert L. Holmes |date=20 June 2013 |publisher=Bloomsbury Publishing USA |isbn=978-1-62356-580-0}}</ref><ref name="Holmes"/>
* ''The Augustinian Tradition'' Editor: Gareth B. Matthews. Contributor: Robert L. Holmes - "St. Augustine and the Just War Theory"<ref>{{Cite book |last=Matthews |first=Gareth B. |url=https://books.google.com/books?id=ky6itexKzWcC&q=%2522Robert+L.+Holmes%2522+-wikipedia |title=The Augustinian Tradition |date=1999 |publisher=University of California Press |isbn=978-0-520-21001-1 |language=en}}</ref>

===Journal articles===
Selected peer-reviewed articles published by Robert L. Holmes include:<ref>[https://scholar.google.com/scholar?q=%22Robert+L.+Holmes%22 ''Robert L. Holmes'' on scholar.google.com]</ref>

* "The Metaethics of Pacifism and Just War Theory". ''[[Philosophical Forum]] Quarterly'' (2015):2-15<ref name=":0" />
* "Just War: Principles and Causes". ''[[International Philosophical Quarterly]]''(1997):483-484<ref name="Holmes 1997 483–484"/>
* "The Limited Relevance of Analytical Ethics to the Problems of Bioethics." ''[[The Journal of Medicine and Philosophy]]'' (1990):143-159<ref name="Holmes 1990 143–159"/>
* "Is Morality a System of Hypothetical Imperatives?". ''[[Analysis (journal)|Analysis]]'' (1974):96-100<ref name="Holmes 1974 96–100"/>
* "University Neutrality and ROTC". ''[[Ethics (journal)|Ethics]]''(1973):177<ref>{{Cite journal |last=Holmes |first=Robert L. |date=1973 |title=University Neutrality and ROTC |url=https://www.journals.uchicago.edu/doi/abs/10.1086/291878?journalCode=et |journal=Ethics |volume=83 |issue=3 |pages=177–195 |doi=10.1086/291878}}</ref>
* "John Dewey's Social Ethics". ''[[The Journal of Value Inquiry]]'' (1973):274-280<ref>{{Cite journal |last=Holmes |first=Robertl. |date=1973 |title=John Dewey's social ethics |url=https://link.springer.com/article/10.1007%2FBF00208793?LI=true |journal=The Journal of Value Inquiry |volume=7 |issue=4 |doi=10.1007/BF00208793}}</ref>
* "John Dewey's Moral Philosophy in Contemporary Perspective". ''[[The Review of Metaphysics]]'' (1966):42-70<ref name="Holmes 1966 42–70"/>
* "The Development of John Dewey's Ethical Thought". ''[[The Monist]]''(1964):392-406<ref name="Holmes 1964 392–406"/>
* "The Case Against Ethical Naturalism". ''[[Mind (journal)|Mind]]'' (1964):291-295<ref name="Holmes 1964 291–295"/>

==See also==
* [[Nonviolence]]
* [[Mahatma Gandhi]]
* [[Pacifism]]
*[[Kantian ethics]]
{{Portal bar|Philosophy}}

==References==
{{Reflist}}

==External links==
* [https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=Robert+L.+Holmes&btnG= Robert L. Holmes' publications on Google Scholar]
* [https://books.google.com/books?id=BxH7CAAAQBAJ&q=Robert+L.+Holms ''Basic Moral Philosophy'' by Robert L. Holmes on books.google.com]
* [https://books.google.com/books?id=TBoABAAAQBAJ&q=Robert+L.+Holms ''On War and Morality'' by Robert L. Holmes on books.google.com]
* [https://books.google.com/books?id=0XbHAgAAQBAJ&q=Robert+L.+Holms ''The Ethics of Nonviolence - Essays by Robert L. Holmes'' Editor: Predrag Cicovacki on books.google.com]
* [https://books.google.com/books?id=a6BIDwAAQBAJ&q=Robert+L.+Holms ''Introduction to Applied Ethics'' by Robert L.Holmes on books.google.com]
* [https://books.google.com/books?id=SWg9hOtdzIIC&q=Robert+Holmes ''Kant's Legacy: Essays in Honor of Lewis White Beck'' Editor: Predrag Cicovacki. Contributor: Robert L. Holmes -"Consequentialism and its Consequences" on books.google.com]
* [https://books.google.com/books?id=ky6itexKzWcC&q=%22Robert+L.+Holmes%22+-wikipedia ''The Augustinian Tradition'' Editor: Gareth B. Matthews. Contributor: Robert L. Holmes - "St. Augustine and the Just War Theory" on books.google.com]
* [https://www.worldcat.org/search?q=Robert+L.+Holmes&dblist=638&fq=ap%3A%22holmes+robert+l%22&qt=facet_ap%3A ''Robert L. Holmes'' on worldcat.org]

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Truth

2024-10-09T22:27:59Z

160.72.80.178: /* Colin Murray Turbayne */ ''Included dates of birth and death for Colin Murray Turbayne''~~~~NHPL

{{Short description|Being in accord with fact or reality}}
{{redirect|The truth|other uses of "The truth"|The Truth (disambiguation)|other uses of "Truth"|Truth (disambiguation)}}

{{pp-move}}
{{Epistemology sidebar}}'''Truth''' or '''verity''' is the [[Property (philosophy)|property]] of being in accord with [[fact]] or [[reality]].<ref name = Merriam-Webster-def>Merriam-Webster's Online Dictionary, [http://m-w.com/dictionary/truth truth] {{Webarchive|url=https://web.archive.org/web/20091229155658/http://m-w.com/dictionary/truth |date=2009-12-29 }}, 2005</ref> In everyday language, it is typically ascribed to things that aim to represent reality or otherwise correspond to it, such as [[belief]]s, [[proposition]]s, and [[declarative sentence]]s.<ref name="SEP Truth">{{cite web |title=Truth |url=https://plato.stanford.edu/entries/truth/ |website=Stanford Encyclopedia of Philosophy |access-date=29 June 2020 |archive-date=20 January 2022 |archive-url=https://web.archive.org/web/20220120210351/https://plato.stanford.edu/entries/truth/ |url-status=live }}</ref>

Truth is usually held to be the opposite of [[false statement]]. The [[concept]] of truth is discussed and debated in various contexts, including [[philosophy]], [[art]], [[theology]], [[law]], and [[science]]. Most human activities depend upon the concept, where its nature as a concept is assumed rather than being a subject of discussion, including [[journalism]] and everyday life. Some philosophers view the concept of truth as basic, and unable to be explained in any terms that are more easily understood than the concept of truth itself.<ref name="SEP Truth"/> Most commonly, truth is viewed as the correspondence of [[language]] or [[thought]] to a mind-independent world. This is called the [[correspondence theory of truth]].

Various theories and views of truth continue to be debated among scholars, philosophers, and theologians.<ref name="SEP Truth"/><ref name=PUP32014>{{cite book|author1=Alexis G. Burgess and John P. Burgess|title=Truth|year=2011|publisher=Princeton University Press|isbn=978-0-691-14401-6|edition=1st|url=http://press.princeton.edu/titles/9460.html|access-date=October 4, 2014|format=hardcover|quote=a concise introduction to current philosophical debates about truth|archive-date=October 6, 2014|archive-url=https://web.archive.org/web/20141006131358/http://press.princeton.edu/titles/9460.html|url-status=live}}</ref> There are many different questions about the nature of truth which are still the subject of contemporary debates. These include the question of defining truth; whether it is even possible to give an informative definition of truth; identifying things as [[truth-bearer]]s capable of being true or false; if truth and falsehood are [[Principle of bivalence|bivalent]], or if there are other truth values; identifying the [[criteria of truth]] that allow us to identify it and to distinguish it from falsehood; the role that truth plays in constituting [[knowledge]]; and, if truth is always [[Universality (philosophy)|absolute]] or if it can be [[knowledge relativity|relative]] to one's perspective.

==Definition and etymology==
{{Further|Veritas|Aletheia|Tryggvi|category=|Page 4=Satya|selfref=}}
{{anchor|treowe}}
The English word ''[[:wikt:truth|truth]]'' is derived from [[Old English]] {{lang|ang|tríewþ, tréowþ, trýwþ}}, [[Middle English]] {{lang|enm|trewþe}}, cognate to [[Old High German]] {{lang|goh|triuwida}}, [[Old Norse]] {{lang|non|tryggð}}. Like ''troth'', it is a ''[[:wikt:-th|-th]]'' nominalisation of the adjective ''true'' (Old English {{lang|ang|tréowe}}).

The English word ''[[:wikt:true|true]]'' is from Old English ([[West Sexaon dialect (Old English)|West Saxon]]) {{lang|ang|(ge)tríewe, [[:wikt:treowe|tréowe]]}}, cognate to [[Old Saxon]] {{lang|osx|(gi)trûui}}, [[Old High German]] {{lang|goh|(ga)triuwu}} ([[Modern German]] {{lang|de|treu}} "faithful"), [[Old Norse]] {{lang|non|tryggr}}, [[Gothic language|Gothic]] {{lang|got|triggws}},<ref>see [[Holtzmann's law]] for the ''-ww-'' : ''-gg-'' alternation.</ref> all from a [[Proto-Germanic]] ''*trewwj-'' "having [[good faith]]", perhaps ultimately from PIE *dru- "tree", on the notion of "steadfast as an oak" (e.g., Sanskrit {{lang|sa-latn|[[:wikt:दारु#Sanskrit|dā́ru]]}} "(piece of) wood").<ref name="Truth from Online Etymology">{{cite web|last=Etymology|first=Online|title=Online Etymology|url=http://www.etymonline.com/|access-date=2013-11-27|archive-date=2007-07-13|archive-url=https://web.archive.org/web/20070713125946/http://www.etymonline.com/|url-status=live}}</ref> Old Norse ''{{lang|is|trú}}'', "faith, word of honour; religious faith, belief"<ref name=":0">''[http://www.northvegr.org/zoega/h442.php A Concise Dictionary of Old Icelandic] {{Webarchive|url=https://web.archive.org/web/20070930210807/http://www.northvegr.org/zoega/h442.php |date=2007-09-30 }}'', Geir T. Zoëga (1910), Northvegr.org</ref> (archaic English ''[[:wikt:troth|troth]]'' "loyalty, [[honesty]], good faith", compare ''{{lang|is|[[wikt:Ásatrú|Ásatrú]]}}'').

Thus, "truth" involves both the quality of "faithfulness, fidelity, loyalty, sincerity, veracity",<ref>[[OED]] on ''true'' has "Steadfast in adherence to a commander or friend, to a principle or cause, to one's promises, faith, etc.; firm in allegiance; faithful, loyal, constant, trusty; honest, honourable, upright, virtuous, trustworthy; free from deceit, sincere, truthful" besides "Conformity with fact; agreement with reality; accuracy, correctness, verity; Consistent with fact; agreeing with the reality; representing the thing as it is; real, genuine; rightly answering to the description; properly so called; not counterfeit, spurious, or imaginary."</ref> and that of "agreement with [[fact]] or [[reality]]", in Anglo-Saxon expressed by ''[[:wikt:sōþ|sōþ]]'' (Modern English ''[[:wikt:sooth|sooth]]'').

All Germanic languages besides English have introduced a terminological distinction between truth "fidelity" and truth "factuality". To express "factuality", [[North Germanic languages|North Germanic]] opted for nouns derived from {{lang|gmq|sanna}} "to assert, affirm", while continental [[West Germanic languages|West Germanic]] (German and Dutch) opted for continuations of {{lang|gmw|wâra}} "faith, trust, pact" (cognate to Slavic ''věra'' "(religious) faith", but influenced by Latin {{lang|la|[[veritas|verus]]}}). [[Romance language]]s use terms following the Latin {{lang|la|[[veritas]]}}, while the Greek {{lang|el-latn|[[aletheia]]}}, Russian {{lang|ru-latn|[[:wikt:pravda|pravda]]}}, South Slavic ''istina'' and Sanskrit {{lang|sa-latn|[[Sat (Sanskrit)|sat]]}} (related to English ''sooth'' and North Germanic {{lang|gmq|sanna}}) have separate etymological origins.

In some modern contexts, the word "truth" is used to refer to fidelity to an original or standard. It can also be used in the context of being "true to oneself" in the sense of acting with [[authenticity (philosophy)|authenticity]].<ref name = Merriam-Webster-def/>

==Major theories==

[[File:Statue of Truth.jpg|thumb|right|[[Walter Seymour Allward]]'s ''Veritas'' (Truth) outside [[Supreme Court of Canada]], [[Ottawa, Ontario]] [[Canada]]]]

The question of what is a proper basis for deciding how words, symbols, ideas and beliefs may properly be considered true, whether by a single person or an entire society, is dealt with by the five most prevalent substantive '''theories of truth''' listed below. Each presents perspectives that are widely shared by published scholars.<ref name="EPT">[[Encyclopedia of Philosophy]], Supp., "Truth", auth: Michael Williams, pp. 572–73 (Macmillan, 1996)</ref><ref>Blackburn, Simon, and Simmons, Keith (eds., 1999), ''Truth'', Oxford University Press, Oxford. Includes papers by James, Ramsey, Russell, Tarski, and more recent work.</ref><ref name=":1">{{cite book |editor1-last=Hale |editor1-first=Bob |editor2-last=Wright |editor2-first=Crispin |year=1999 |chapter=A Companion to the Philosophy of Language |chapter-url= |location= |publisher= |pages=309–30 |doi=10.1111/b.9780631213260.1999.00015.x |doi-broken-date=2024-08-24 |isbn=978-0-631-21326-0 }}</ref>

Theories other than the most prevalent substantive theories are also discussed. According to a survey of professional philosophers and others on their philosophical views which was carried out in November 2009 (taken by 3226 respondents, including 1803 philosophy faculty members and/or PhDs and 829 philosophy graduate students) 45% of respondents accept or lean toward correspondence theories, 21% accept or lean toward deflationary theories and 14% [[Epistemic theories of truth|epistemic theories]].<ref>{{cite web |url=http://philpapers.org/surveys/results.pl?affil=All+respondents&areas0=0&areas_max=1&grain=medium |title=The PhilPapers Surveys – Preliminary Survey results |website=The PhilPapers Surveys |publisher=Philpapers.org |access-date=2012-05-27 |archive-date=2012-03-20 |archive-url=https://web.archive.org/web/20120320074244/http://philpapers.org/surveys/results.pl?affil=All+respondents&areas0=0&areas_max=1&grain=medium |url-status=live }}</ref>

===Substantive===
====Correspondence====
{{Main|Correspondence theory of truth}}
Correspondence theories emphasize that true beliefs and true statements correspond to the actual state of affairs.<ref name=":2">[[Encyclopedia of Philosophy]], Vol.2, "Correspondence Theory of Truth", auth.: [[Arthur N. Prior]], p. 223 (Macmillan, 1969). Prior uses [[Bertrand Russell]]'s wording in defining correspondence theory. According to Prior, Russell was substantially responsible for helping to make correspondence theory widely known under this name.</ref> This type of theory stresses a relationship between thoughts or statements on one hand, and things or objects on the other. It is a traditional model tracing its origins to [[ancient Greece|ancient Greek]] philosophers such as [[Socrates]], [[Plato]], and [[Aristotle]].<ref>[[Encyclopedia of Philosophy]], Vol.2, "Correspondence Theory of Truth", auth.: Arthur N. Prior, pp. 223–24 (Macmillan, 1969).</ref> This class of theories holds that the truth or the falsity of a representation is determined in principle entirely by how it relates to "things" according to whether it accurately describes those "things". A classic example of correspondence theory is the statement by the thirteenth century philosopher and theologian [[Thomas Aquinas]]: "''[[Veritas est adaequatio rei et intellectus]]''" ("Truth is the adequation of things and [[intellect]]"), which Aquinas attributed to the ninth century [[Neoplatonist]] [[Isaac Israeli ben Solomon|Isaac Israeli]].<ref name=":3">[[Encyclopedia of Philosophy]], Vol. 2, "Correspondence Theory of Truth", auth.: Arthur N. Prior, Macmillan, 1969, p. 224.</ref><ref>[http://plato.stanford.edu/entries/truth-correspondence "Correspondence Theory of Truth", in Stanford Encyclopedia of Philosophy] {{Webarchive|url=https://web.archive.org/web/20191031140950/https://plato.stanford.edu/entries/truth-correspondence/ |date=2019-10-31 }}.</ref><ref name=":4">Thomas Aquinas, ''[[Summa Theologiae]]'', I. Q.16, A.2 arg. 2.</ref> Aquinas also restated the theory as: "A judgment is said to be true when it conforms to the external reality".<ref name=":5">[http://plato.stanford.edu/entries/truth-correspondence "Correspondence Theory of Truth", in Stanford Encyclopedia of Philosophy] {{Webarchive|url=https://web.archive.org/web/20191031140950/https://plato.stanford.edu/entries/truth-correspondence/ |date=2019-10-31 }} (citing ''De Veritate'' Q.1, A.1–3 and ''[[Summa Theologiae]]'', I. Q.16).</ref>

Correspondence theory centres heavily around the assumption that truth is a matter of accurately copying what is known as "[[objective reality]]" and then representing it in thoughts, words, and other symbols.<ref>''See, e.g.,'' Bradley, F.H., "On Truth and Copying", in Blackburn, ''et al.'' (eds., 1999),''Truth'', 31–45.</ref> Many modern theorists have stated that this ideal cannot be achieved without analysing additional factors.<ref name=EPT/><ref name=":6">[[Encyclopedia of Philosophy]], Vol.2, "Correspondence Theory of Truth", auth: Arthur N. Prior, pp. 223 ''ff''. Macmillan, 1969. See especially, section on "Moore's Correspondence Theory", 225–26, "Russell's Correspondence Theory", 226–27, "Remsey and Later Wittgenstein", 228–29, "Tarski's Semantic Theory", 230–31.</ref> For example, language plays a role in that all languages have words to represent concepts that are virtually undefined in other languages. The [[German language|German]] word ''[[Zeitgeist]]'' is one such example: one who speaks or understands the language may "know" what it means, but any translation of the word apparently fails to accurately capture its full meaning (this is a problem with many abstract words, especially those derived in [[agglutinative languages]]). Thus, some words add an additional parameter to the construction of an accurate [[truth predicate]]. Among the philosophers who grappled with this problem is [[Alfred Tarski]], whose [[semantic theory of truth|semantic theory]] is summarized further on.<ref>[[Encyclopedia of Philosophy]], Vol.2, "Correspondence Theory of Truth", auth: Arthur N. Prior, pp. 223 ''ff''. Macmillan, 1969. See the section on "Tarski's Semantic Theory", 230–31.</ref>

Proponents of several of the theories below have gone further to assert that there are yet other issues necessary to the analysis, such as interpersonal power struggles, community interactions, personal biases, and other factors involved in deciding what is seen as truth.

====Coherence====
{{Main|Coherence theory of truth}}

For coherence theories in general, truth requires a proper fit of elements within a whole system. Very often, coherence is taken to imply something more than simple logical consistency; often there is a demand that the propositions in a coherent system lend mutual inferential support to each other. So, for example, the completeness and comprehensiveness of the underlying set of concepts is a critical factor in judging the validity and usefulness of a coherent system.<ref>[[Immanuel Kant]], for instance, assembled a controversial but quite coherent system in the early 19th century, whose validity and usefulness continues to be debated even today. Similarly, the systems of [[Gottfried Wilhelm Leibniz|Leibniz]] and [[Spinoza]] are characteristic systems that are internally coherent but controversial in terms of their utility and validity.</ref> A pervasive tenet of coherence theories is the idea that truth is primarily a property of whole systems of propositions, and can be ascribed to individual propositions only according to their coherence with the whole. Among the assortment of perspectives commonly regarded as coherence theory, theorists differ on the question of whether coherence entails many possible true systems of thought or only a single absolute system.

Some variants of coherence theory are claimed to describe the essential and intrinsic properties of [[formal system]]s in logic and mathematics.<ref>[[Encyclopedia of Philosophy]], Vol.2, "Coherence Theory of Truth", auth: [[Alan R. White]], pp. 130–31 (Macmillan, 1969)</ref> Formal reasoners are content to contemplate [[independence (mathematical logic)|axiomatically independent]] and sometimes mutually contradictory systems side by side, for example, the various [[noneuclidean geometry|alternative geometries]]. On the whole, coherence theories have been rejected for lacking justification in their application to other areas of truth, especially with respect to assertions about the [[Natural environment|natural world]], [[empirical]] data in general, assertions about practical matters of psychology and society, especially when used without support from the other major theories of truth.<ref>[[Encyclopedia of Philosophy]], Vol.2, "Coherence Theory of Truth", auth: Alan R. White, pp. 131–33, ''see'' esp., section on "Epistemological assumptions" (Macmillan, 1969)</ref>

Coherence theories distinguish the thought of [[rationalism|rationalist]] philosophers, particularly of [[Baruch Spinoza]], [[Gottfried Wilhelm Leibniz]], and [[Georg Wilhelm Friedrich Hegel]], along with the British philosopher [[F. H. Bradley]].<ref>[[Encyclopedia of Philosophy]], Vol.2, "Coherence Theory of Truth", auth: Alan R. White, p. 130</ref> They have found a resurgence also among several proponents of [[logical positivism]], notably [[Otto Neurath]] and [[Carl Hempel]].

====Pragmatic====
{{Main|Pragmatic theory of truth}}

The three most influential forms of the ''pragmatic theory of truth'' were introduced around the turn of the 20th century by [[Charles Sanders Peirce]], [[William James]], and [[John Dewey]]. Although there are wide differences in viewpoint among these and other proponents of pragmatic theory, they hold in common that truth is verified and confirmed by the results of putting one's concepts into practice.<ref>[[Encyclopedia of Philosophy]], Vol. 5, "Pragmatic Theory of Truth", 427 (Macmillan, 1969).</ref>

Peirce defines it: "Truth is that concordance of an abstract statement with the ideal limit towards which endless investigation would tend to bring scientific belief, which concordance the abstract statement may possess by virtue of the confession of its inaccuracy and one-sidedness, and this confession is an essential ingredient of truth."<ref name="Peirce Truth and Falsity">Peirce, C.S. (1901), "Truth and Falsity and Error" (in part), pp. 716–20 in [[James Mark Baldwin]], ed., ''Dictionary of Philosophy and Psychology'', v. 2. Peirce's section is entitled "''Logical''", beginning on p. 718, column 1, and ending on p. 720 with the initials "(C.S.P.)", see Google Books [https://archive.org/details/beginningthirdr00randgoog/page/n748  Eprint]. Reprinted, ''[[Charles Sanders Peirce bibliography#CP|Collected Papers]]'' v. 5, pp. 565–73.</ref> This statement stresses Peirce's view that ideas of approximation, incompleteness, and partiality, what he describes elsewhere as ''[[fallibilism]]'' and "reference to the future", are essential to a proper conception of truth. Although Peirce uses words like ''concordance'' and ''correspondence'' to describe one aspect of the pragmatic [[sign relation]], he is also quite explicit in saying that definitions of truth based on mere correspondence are no more than ''nominal'' definitions, which he accords a lower status than ''real'' definitions.

James' version of pragmatic theory, while complex, is often summarized by his statement that "the 'true' is only the expedient in our way of thinking, just as the 'right' is only the expedient in our way of behaving."<ref name=WJP>James, William, ''The Meaning of Truth, A Sequel to 'Pragmatism','' (1909).</ref> By this, James meant that truth is a ''quality'', the value of which is confirmed by its effectiveness when applying concepts to practice (thus, "pragmatic").

Dewey, less broadly than James but more broadly than Peirce, held that [[inquiry]], whether scientific, technical, sociological, philosophical, or cultural, is self-corrective over time ''if'' openly submitted for testing by a community of inquirers in order to clarify, justify, refine, and/or refute proposed truths.<ref>[[Encyclopedia of Philosophy]], Vol.2, "Dewey, John", auth [[Richard J. Bernstein]], p. 383 (Macmillan, 1969)</ref>

Though not widely known, a new variation of the pragmatic theory was defined and wielded successfully from the 20th century forward. Defined and named by [[William Ernest Hocking]], this variation is known as "negative pragmatism". Essentially, what works may or may not be true, but what fails cannot be true because the truth always works.<ref>Sahakian, W.S. & Sahakian, M.L., Ideas of the Great Philosophers, New York: Barnes & Noble, 1966, {{LCCN|66-23155}}</ref> Philosopher of science [[Richard Feynman]] also subscribed to it: "We never are definitely right, we can only be sure we are wrong."<ref name="FeynmanThe">Feynman, The Character of Physical Law, New York: Random House, 1994, 978-0-679-60127-2.</ref> This approach incorporates many of the ideas from Peirce, James, and Dewey. For Peirce, the idea of "endless investigation would tend to bring about scientific belief" fits negative pragmatism in that a negative pragmatist would never stop testing. As Feynman noted, an idea or theory "could never be proved right, because tomorrow's experiment might succeed in proving wrong what you thought was right."<ref name="FeynmanThe" /> Similarly, James and Dewey's ideas also ascribe truth to repeated testing which is "self-corrective" over time.

Pragmatism and negative pragmatism are also closely aligned with the [[coherence theory of truth]] in that any testing should not be isolated but rather incorporate knowledge from all human endeavors and experience. The universe is a whole and integrated system, and testing should acknowledge and account for its diversity. As Feynman said, "... if it disagrees with experiment, it is wrong."<ref>Feynman, ''The Character of Physical Law'', p. 150.</ref>

====Constructivist====
{{Main|Constructivist epistemology}}

[[Constructivist epistemology|Social constructivism]] holds that truth is constructed by social processes, is historically and culturally specific, and that it is in part shaped through the power struggles within a community. Constructivism views all of our knowledge as "constructed," because it does not reflect any external "transcendent" realities (as a pure correspondence theory might hold). Rather, perceptions of truth are viewed as contingent on convention, human perception, and social experience. It is believed by constructivists that representations of physical and biological reality, including [[Race (classification of human beings)|race]], [[Human sexuality|sexuality]], and [[gender]], are socially constructed.

[[Giambattista Vico]] was among the first to claim that history and culture were man-made. Vico's [[epistemology|epistemological]] orientation unfolds in one axiom: ''verum ipsum factum''—"truth itself is constructed". [[Hegel]] and [[Marx]] were among the other early proponents of the premise that truth is, or can be, socially constructed. Marx, like many critical theorists who followed, did not reject the existence of objective truth, but rather distinguished between true knowledge and knowledge that has been distorted through power or ideology. For Marx, scientific and true knowledge is "in accordance with the dialectical understanding of history" and ideological knowledge is "an epiphenomenal expression of the relation of material forces in a given economic arrangement".<ref>{{cite book |author1=May, Todd |author-link1=Todd May (philosopher) |title=Between Genealogy and Epistemology: Psychology, Politics, and Knowledge in the Thought of Michel Foucault |date=1993 |publisher=Pennsylvania State University Press |location=University Park |isbn=978-0271027821|oclc= 26553016}}</ref>{{page needed|date=March 2019}}

====Consensus====
{{Main|Consensus theory of truth}}

[[Consensus theory of truth|Consensus theory]] holds that truth is whatever is agreed upon, or in some versions, might come to be agreed upon, by some specified group. Such a group might include all human beings, or a [[subset]] thereof consisting of more than one person.

Among the current advocates of consensus theory as a useful accounting of the concept of "truth" is the philosopher [[Jürgen Habermas]].<ref>''See, e.g.'', Habermas, Jürgen, ''Knowledge and Human Interests'' (English translation, 1972).</ref> Habermas maintains that truth is what would be agreed upon in an [[ideal speech situation]].<ref>''See, e.g.'', Habermas, Jürgen, ''Knowledge and Human Interests'' (English translation, 1972), esp. Part III, pp. 187 ''ff''.</ref> Among the current strong critics of consensus theory is the philosopher [[Nicholas Rescher]].<ref>Rescher, Nicholas, ''Pluralism: Against the Demand for Consensus'' (1995).</ref>

===Minimalist===
====Deflationary====
{{Main|Deflationary theory of truth}}

Modern developments in the field of philosophy have resulted in the rise of a new thesis: that the term ''truth'' does not denote a real property of sentences or propositions. This thesis is in part a response to the common use of ''truth predicates'' (e.g., that some particular thing "...is true") which was particularly prevalent in philosophical discourse on truth in the first half of the 20th century. From this point of view, to assert that "'2 + 2 = 4' is true" is logically equivalent to asserting that "2 + 2 = 4", and the phrase "is true" is—philosophically, if not practically (see: "Michael" example, below)—completely dispensable in this and every other context. In common parlance, truth predicates are not commonly heard, and it would be interpreted as an unusual occurrence were someone to utilize a truth predicate in an everyday conversation when asserting that something is true. Newer perspectives that take this discrepancy into account, and work with sentence structures as actually employed in common discourse, can be broadly described:
* as ''deflationary'' theories of truth, since they attempt to deflate the presumed importance of the words "true" or ''truth'',
* as ''disquotational'' theories, to draw attention to the disappearance of the quotation marks in cases like the above example, or
* as ''minimalist'' theories of truth.<ref name=EPT/><ref>Blackburn, Simon, and Simmons, Keith (eds., 1999), ''Truth'' in the Introductory section of the book.</ref>

Whichever term is used, deflationary theories can be said to hold in common that "the predicate 'true' is an expressive convenience, not the name of a property requiring deep analysis."<ref name=EPT/> Once we have identified the truth predicate's formal features and utility, deflationists argue, we have said all there is to be said about truth. Among the theoretical concerns of these views is to explain away those special cases where it ''does'' appear that the concept of truth has peculiar and interesting properties. (See, e.g., [[Semantic paradox]]es, and below.)

The scope of deflationary principles is generally limited to representations that resemble sentences. They do not encompass a broader range of entities that are typically considered true or otherwise. In addition, some deflationists point out that the concept employed in "...is true" formulations does enable us to express things that might otherwise require infinitely long sentences; for example, one cannot express confidence in Michael's accuracy by asserting the endless sentence:
:''Michael says, 'snow is white' and snow is white, or he says 'roses are red' and roses are red or he says ... etc.''
This assertion can instead be succinctly expressed by saying: ''What Michael says is true''.<ref>[[Richard Kirkham]], [[Theories of Truth: A Critical Introduction]], MIT Press, 1992.</ref>

=====Redundancy and related=====
{{Main|Redundancy theory of truth}}

An early variety of deflationary theory is the [[redundancy theory of truth]], so-called because—in examples like those above, e.g. "snow is white [is true]"—the concept of "truth" is redundant and need not have been articulated; that is, it is merely a word that is traditionally used in conversation or writing, generally for emphasis, but not a word that actually equates to anything in reality. This theory is commonly attributed to [[Frank P. Ramsey]], who held that the use of words like ''fact'' and ''truth'' was nothing but a [[periphrasis|roundabout]] way of asserting a proposition, and that treating these words as separate problems in isolation from judgment was merely a "linguistic muddle".<ref name="EPT"/><ref>Ramsey, F.P. (1927), "Facts and Propositions", Aristotelian Society Supplementary Volume 7, 153–70. Reprinted, pp. 34–51 in F.P. Ramsey, Philosophical Papers, David Hugh Mellor (ed.), Cambridge University Press, Cambridge, 1990</ref><ref>Le Morvan, Pierre. (2004) "Ramsey on Truth and Truth on Ramsey", ''The British Journal for the History of Philosophy'' 12(4), pp. 705–18.</ref>

A variant of redundancy theory is the "disquotational" theory, which uses a modified form of the logician [[Alfred Tarski]]'s [[#Semantic theory of truth|schema]]: proponents observe that to say that "'P' is true" ''is'' to assert "P". A version of this theory was defended by [[C. J. F. Williams]] (in his book ''What is Truth?''). Yet another version of deflationism is the prosentential theory of truth, first developed by Dorothy Grover, Joseph Camp, and [[Nuel Belnap]] as an elaboration of Ramsey's claims. They argue that utterances such as "that's true", when said in response to (e.g.) "it's raining", are "[[prosentence]]s"—expressions that merely repeat the content of other expressions. In the same way that ''it'' means the same as ''my dog'' in the statement "my dog was hungry, so I fed it", ''that's true'' is supposed to mean the same as ''it's raining'' when the former is said in reply to the latter.

As noted above, proponents of these ideas do not necessarily follow Ramsey in asserting that truth is not a ''property;'' rather, they can be understood to say that, for instance, the assertion "P" ''may well'' involve a substantial truth—it is only the redundancy involved in statements such as "that's true" (i.e., a prosentence) which is to be minimized.<ref name=EPT/>

====Performative====
Attributed to philosopher [[P. F. Strawson]] is the performative theory of truth which holds that to say "'Snow is white' is true" is to perform the [[speech act]] of signaling one's agreement with the claim that snow is white (much like nodding one's head in agreement). The idea that some statements are more actions than communicative statements is not as odd as it may seem. For example, when a wedding couple says "I do" at the appropriate time in a wedding, they are performing the act of taking the other to be their lawful wedded spouse. They are not ''describing'' themselves as taking the other, but actually ''doing'' so (perhaps the most thorough analysis of such "illocutionary acts" is [[J. L. Austin]], most notably in "''[[How to Do Things With Words]]''"<ref>J. L. Austin, "How to Do Things With Words". Cambridge: Harvard University Press, 1975</ref>).

Strawson holds that a similar analysis is applicable to all speech acts, not just illocutionary ones: "To say a statement is true is not to make a statement about a statement, but rather to perform the act of agreeing with, accepting, or endorsing a statement. When one says 'It's true that it's raining,' one asserts no more than 'It's raining.' The function of [the statement] 'It's true that...' is to agree with, accept, or endorse the statement that 'it's raining.'"<ref>[[Encyclopedia of Philosophy]], Vol. 6: ''Performative Theory of Truth'', auth: Gertrude Ezorsky, p. 88 (Macmillan, 1969)</ref>

====Philosophical skepticism====
{{see also|Philosophical skepticism|Certainty}}

[[Philosophical skepticism]] is generally any [[doubt]] of one or more items of [[knowledge]] or [[belief]] which ascribe truth to their assertions and propositions.<ref>{{cite book |first=R. H. |last=Popkin |title=The History of Skepticism from Erasmus to Descartes (rev. ed. 1968); C. L. Stough, Greek Skepticism (1969); M. Burnyeat, ed., The Skeptical Tradition (1983); B. Stroud, The Significance of Philosophical Skepticism (1984) |url=http://encyclopedia2.thefreedictionary.com/Skeptikoi |work=Encyclopedia2.thefreedictionary.com |access-date=2018-06-04 |archive-date=2012-07-13 |archive-url=https://archive.today/20120713170158/http://encyclopedia2.thefreedictionary.com/Skeptikoi |url-status=live }}</ref><ref>"Philosophical views are typically classed as skeptical when they involve advancing some degree of doubt regarding claims that are elsewhere taken for granted." [http://www.utm.edu/research/iep/s/skepcont.htm utm.edu] {{Webarchive|url=https://web.archive.org/web/20090113210019/http://www.utm.edu/research/iep/s/skepcont.htm |date=2009-01-13 }}</ref> The primary target of philosophical skepticism is [[epistemology]], but it can be applied to any domain, such as the [[supernatural]], morality ([[moral skepticism]]), and [[religious skepticism|religion]] (skepticism about the existence of God).<ref>{{Cite book|title = The Oxford Handbook of Skepticism|url = https://books.google.com/books?id=Ozv0lftrUeEC|publisher = Oxford University Press, US|year = 2008|isbn = 978-0-19-518321-4|language = en|first = John|last = Greco|author-link=John Greco (philosopher)}}</ref>

Philosophical skepticism comes in various forms. [[Radical skepticism|Radical forms of skepticism]] deny that knowledge or rational belief is possible and urge us to [[epoche|suspend judgment]] regarding ascription of truth on many or all controversial matters. More moderate forms of skepticism claim only that nothing can be known with certainty, or that we can know little or nothing about the "big questions" in life, such as whether God exists or whether there is an afterlife. [[Religious skepticism]] is "doubt concerning basic religious principles (such as immortality, providence, and revelation)".<ref>{{Cite web|title = Definition of SKEPTICISM|url = http://www.merriam-webster.com/dictionary/skepticism|website = Merriam-Webster |access-date = 2016-02-05|archive-date = 2019-04-24|archive-url = https://web.archive.org/web/20190424142033/https://www.merriam-webster.com/dictionary/skepticism|url-status = live}}</ref> [[Scientific skepticism]] concerns testing beliefs for reliability, by subjecting them to [[wikt:systematic|systematic]] investigation using the [[scientific method]], to discover [[empirical evidence]] for them.

===Pluralist===
{{Main|Pluralist theories of truth}}
Several of the major theories of truth hold that there is a particular property the having of which makes a belief or proposition true. Pluralist theories of truth assert that there may be more than one property that makes propositions true: ethical propositions might be true by virtue of coherence. Propositions about the physical world might be true by corresponding to the objects and properties they are about.

Some of the pragmatic theories, such as those by [[Charles Sanders Peirce|Charles Peirce]] and [[William James]], included aspects of correspondence, coherence and constructivist theories.<ref name="Peirce Truth and Falsity"/><ref name=WJP/> [[Crispin Wright]] argued in his 1992 book ''Truth and Objectivity'' that any predicate which satisfied certain platitudes about truth qualified as a truth predicate. In some discourses, Wright argued, the role of the truth predicate might be played by the notion of superassertibility.<ref>Truth and Objectivity, Cambridge, Massachusetts: Harvard University Press, 1992.</ref> [[Michael Lynch (philosopher)|Michael Lynch]], in a 2009 book ''Truth as One and Many'', argued that we should see truth as a functional property capable of being multiply manifested in distinct properties like correspondence or coherence.<ref>Truth as One and Many (Oxford: Oxford University Press, 2009).</ref>

==Formal theories==
===Logic===
{{Main|Logical truth|Criteria of truth|Truth value}}

[[Logic]] is concerned with the patterns in [[reason]] that can help tell if a [[proposition]] is true or not. Logicians use [[formal language]]s to express the truths they are concerned with, and as such there is only truth under some [[interpretation (logic)|interpretation]] or truth within some [[logical system]].

A logical truth (also called an analytic truth or a necessary truth) is a statement that is true in all possible worlds<ref>[[Ludwig Wittgenstein]], ''[[Tractatus Logico-Philosophicus]]''.</ref> or under all possible interpretations, as contrasted to a ''[[fact]]'' (also called a ''[[Analytic-synthetic distinction|synthetic claim]]'' or a ''[[Necessary and sufficient condition|contingency]]''), which is only true in this [[World (philosophy)|world]] as it has historically unfolded. A proposition such as "If p and q, then p" is considered to be a logical truth because of the meaning of the [[symbol (formal)|symbols]] and [[well-formed formula|words]] in it and not because of any fact of any particular world. They are such that they could not be untrue.

[[Degree of truth|Degrees]] of [[truth values|truth]] in logic may be represented using two or more discrete values, as with [[principle of bivalence|bivalent logic]] (or [[Boolean logic|binary logic]]), [[three-valued logic]], and other forms of [[finite-valued logic]].<ref>{{cite book| last=Kretzmann| first=Norman| title=William of Sherwood's Treatise on Syncategorematic Words| chapter=IV, section<nowiki>=</nowiki>2. 'Infinitely Many' and 'Finitely Many'| publisher=University of Minnesota Press| year=1968| chapter-url=https://books.google.com/books?id=fW5rlSy-5D8C&pg=PA42| isbn=978-0-8166-5805-3}}</ref><ref>{{cite book| last=Smith| first=Nicholas J.J.| chapter=Article 2.6| title=Many-Valued Logics| publisher=Routledge| year=2010| chapter-url=https://www-personal.usyd.edu.au/~njjsmith/papers/smith-many-valued-logics.pdf| access-date=2018-05-25| archive-date=2018-04-08| archive-url=https://web.archive.org/web/20180408200831/http://www-personal.usyd.edu.au/~njjsmith/papers/smith-many-valued-logics.pdf| url-status=live}}</ref> Truth in logic can be represented using numbers comprising a [[continuous or discrete variable|continuous]] range, typically between 0 and 1, as with [[fuzzy logic]] and other forms of [[infinite-valued logic]].<ref>{{cite book| work=The Development of Modern Logic| last1=Mancosu| first1=Paolo| last2=Zach| first2=Richard| last3=Badesa| first3=Calixto| title=9. The Development of Mathematical Logic from Russell to Tarski 1900-1935| section=7.2 Many-valued logics| publisher=Oxford University Press| pages=418–20| year=2004| url=https://books.google.com/books?id=0jXavKsArnIC| isbn=978-0-19-972272-3}}</ref><ref>{{cite web| last=Garrido| first=Angel| title=A Brief History of Fuzzy Logic| publisher=Revista EduSoft| year=2012| url=https://www.edusoft.ro/brain/index.php/brain/article/viewFile/308/390| access-date=2018-05-25| archive-date=2018-05-17| archive-url=https://web.archive.org/web/20180517152622/https://www.edusoft.ro/brain/index.php/brain/article/viewFile/308/390| url-status=live}}, Editorial</ref> In general, the concept of representing truth using more than two values is known as [[many-valued logic]].<ref>{{cite book| last=Rescher| first=Nicholas| publisher=Humanities Press Synthese Library volume 17| year=1968| doi=10.1007/978-94-017-3546-9_6| title=Topics in Philosophical Logic|pages = 54–125|isbn = 978-90-481-8331-9| chapter=Many-Valued Logic}}</ref>

===Mathematics===
{{anchor|Truth_in_mathematics}}
{{Main|Model theory|Proof theory}}

There are two main approaches to truth in mathematics. They are the ''[[model theory|model theory of truth]]'' and the ''[[proof theory|proof theory of truth]]''.<ref>Penelope Maddy; ''Realism in Mathematics''; Series: Clarendon Paperbacks; Paperback: 216 pages; Publisher: Oxford University Press, US (1992); 978-0-19-824035-8.</ref>

Historically, with the nineteenth century development of [[Boolean algebra (logic)|Boolean algebra]], mathematical models of logic began to treat "truth", also represented as "T" or "1", as an arbitrary constant. "Falsity" is also an arbitrary constant, which can be represented as "F" or "0". In [[propositional logic]], these symbols can be manipulated according to a set of [[axioms]] and [[rules of inference]], often given in the form of [[truth table]]s.

In addition, from at least the time of [[Hilbert's program]] at the turn of the twentieth century to the proof of [[Gödel's incompleteness theorems]] and the development of the [[Church–Turing thesis]] in the early part of that century, true statements in mathematics were [[logical positivism|generally assumed]] to be those statements that are provable in a formal axiomatic system.<ref>Elliott Mendelson; ''Introduction to Mathematical Logic''; Series: Discrete Mathematics and Its Applications; Hardcover: 469 pages; Publisher: Chapman and Hall/CRC; 5 edition (August 11, 2009); 978-1-58488-876-5.</ref>

The works of [[Kurt Gödel]], [[Alan Turing]], and others shook this assumption, with the development of statements that are true but cannot be proven within the system.<ref>''See, e.g.,'' Chaitin, Gregory L., ''The Limits of Mathematics'' (1997) esp. 89 ''ff''.</ref> Two examples of the latter can be found in [[Hilbert's problems]]. Work on [[Hilbert's 10th problem]] led in the late twentieth century to the construction of specific [[Diophantine equations]] for which it is undecidable whether they have a solution,<ref>M. Davis. "Hilbert's Tenth Problem is Unsolvable." ''American Mathematical Monthly'' 80, pp. 233–69, 1973</ref> or even if they do, whether they have a finite or infinite number of solutions. More fundamentally, [[Hilbert's first problem]] was on the [[continuum hypothesis]].<ref>Yandell, Benjamin H.. ''The Honors Class. Hilbert's Problems and Their Solvers'' (2002).</ref> Gödel and [[Paul Cohen (mathematician)|Paul Cohen]] showed that this hypothesis cannot be proved or disproved using the standard [[axiom]]s of [[set theory]].<ref>Chaitin, Gregory L., ''The Limits of Mathematics'' (1997) 1–28, 89 ''ff''.</ref> In the view of some, then, it is equally reasonable to take either the continuum hypothesis or its negation as a new axiom.

Gödel thought that the ability to perceive the truth of a mathematical or logical proposition is a matter of [[logical intuition|intuition]], an ability he admitted could be ultimately beyond the scope of a formal theory of logic or mathematics<ref>{{cite web| last=Ravitch| first=Harold| title=On Gödel's Philosophy of Mathematics| year=1998| url=http://www.friesian.com/goedel/chap-2.htm| access-date=2018-05-25| archive-date=2018-02-28| archive-url=https://web.archive.org/web/20180228005628/http://friesian.com/goedel/chap-2.htm| url-status=live}}</ref><ref>{{cite web| last=Solomon| first=Martin| title=On Kurt Gödel's Philosophy of Mathematics| year=1998| url=http://calculemus.org/lect/07logika/godel-solomon.html| access-date=2018-05-25| archive-date=2016-03-04| archive-url=https://web.archive.org/web/20160304030146/http://www.calculemus.org/lect/07logika/godel-solomon.html| url-status=live}}</ref> and perhaps best considered in the realm of human [[comprehension (logic)|comprehension]] and communication. But he commented, "The more I think about language, the more it amazes me that people ever understand each other at all".<ref>{{cite book| last=Wang| first=Hao| title=A Logical Journey: From Gödel to Philosophy| publisher=The MIT Press| year=1997| url=https://books.google.com/books?isbn=0262261251}} (A discussion of Gödel's views on [[logical intuition]] is woven throughout the book; the quote appears on page 75.)</ref>

===Tarski's semantics===
{{main|Semantic theory of truth}}

The [[semantic theory of truth]] has as its general case for a given language:
:'P' is true if and only if P
where 'P' refers to the sentence (the sentence's name), and P is just the sentence itself.

[[Tarski's theory of truth]] (named after [[Alfred Tarski]]) was developed for formal languages, such as [[formal logic]]. Here he restricted it in this way: no language could contain its own truth predicate, that is, the expression ''is true'' could only apply to sentences in some other language. The latter he called an ''object language'', the language being talked about. (It may, in turn, have a truth predicate that can be applied to sentences in still another language.) The reason for his restriction was that languages that contain their own truth predicate will contain [[Liar paradox|paradoxical]] sentences such as, "This sentence is not true". As a result, Tarski held that the semantic theory could not be applied to any natural language, such as English, because they contain their own truth predicates. [[Donald Davidson (philosopher)|Donald Davidson]] used it as the foundation of his [[truth-conditional semantics]] and linked it to [[radical interpretation]] in a form of [[coherentism]].

[[Bertrand Russell]] is credited with noticing the existence of such paradoxes even in the best symbolic formations of mathematics in his day, in particular the paradox that came to be named after him, [[Russell's paradox]]. Russell and [[Alfred North Whitehead|Whitehead]] attempted to solve these problems in ''[[Principia Mathematica]]'' by putting statements into a hierarchy of [[type theory|types]], wherein a statement cannot refer to itself, but only to statements lower in the hierarchy. This in turn led to new orders of difficulty regarding the precise natures of types and the structures of conceptually possible [[type system]]s that have yet to be resolved to this day.

===Kripke's semantics===
{{Main|Semantic theory of truth}}
[[Kripke's theory of truth]] (named after [[Saul Kripke]]) contends that a natural language can in fact contain its own truth predicate without giving rise to contradiction. He showed how to construct one as follows:
* Beginning with a subset of sentences of a natural language that contains no occurrences of the expression "is true" (or "is false"). So, ''The barn is big'' is included in the subset, but not "''The barn is big'' is true", nor problematic sentences such as "''This sentence'' is false".
* Defining truth just for the sentences in that subset.
* Extending the definition of truth to include sentences that predicate truth or falsity of one of the original subset of sentences. So "''The barn is big'' is true" is now included, but not either "''This sentence'' is false" nor "<nowiki>'</nowiki>''The barn is big'' is true' is true".
* Defining truth for all sentences that predicate truth or falsity of a member of the second set. Imagine this process repeated infinitely, so that truth is defined for ''The barn is big''; then for "''The barn is big'' is true"; then for "<nowiki>'</nowiki>''The barn is big'' is true' is true", and so on.

Truth never gets defined for sentences like ''This sentence is false'', since it was not in the original subset and does not predicate truth of any sentence in the original or any subsequent set. In Kripke's terms, these are "ungrounded." Since these sentences are never assigned either truth or falsehood even if the process is carried out infinitely, Kripke's theory implies that some sentences are neither true nor false. This contradicts the [[principle of bivalence]]: every sentence must be either true or false. Since this principle is a key premise in deriving the [[liar paradox]], the paradox is dissolved.<ref>Kripke, Saul. "Outline of a Theory of Truth", Journal of Philosophy, 72 (1975), 690–716</ref>

The [[proof sketch for Gödel's first incompleteness theorem]] shows self-reference cannot be avoided naively{{clarify|date=November 2022|reason=
Is this paragraph implying that Kripke semantics attempt to "naively avoid self-reference"? I am pretty certain that Kripke was well aware of, and deeply understood both Godel's and Tarski's work relevant to these questions, given that he was a mathematical logician in the period several decades after Godel's and Tarski's foundational publications. So all things being equal, unless another commensurate expert is claiming that Kripke is doing this, it shouldn't be assumed that he is -- in which case a citation to the expert, and where their opinion is expressed, is needed.
}}{{citation needed|date=November 2022|reason=Which of Godel's publications is this referring to?
}}, since propositions about seemingly unrelated objects can have an informal self-referential meaning; in Gödel's work, these objects are integer numbers, and they have an informal meaning regarding propositions{{clarify|date=November 2022|reason=
Great, but what part of Kripke semantics relies on (something equivalent to) first-order Peano arithmetic, which as far as I understand is the context where the Goedel numbering method (which this paragraph is seemingly referencing) is relevant. And based on this informal discussion, it's unclear to me whether the author is conflating object language and metalanguage.
}}. In fact, this idea — manifested by the [[diagonal lemma]]—is the basis for [[Tarski's undefinability theorem|Tarski's theorem]] that truth cannot be consistently defined.{{clarify|date=November 2022|reason=
Again Saul Kripke is a mathematical logician, he was obviously aware of diagonal arguments (also relevant to Cantor's theorem, most generalized by Lawvere's theorem), so the basis for assuming that he proposed a system of formal semantics that doesn't make sense in light of a diagonal argument seems highly dubious. That might not be what this paragraph is claiming, but again I don't understand what it is claiming.
}}

It has thus been claimed<ref>Keith Simmons, ''Universality and the Liar: An Essay on Truth and the Diagonal Argument'', Cambridge University Press, Cambridge 1993</ref> that Kripke's system indeed leads to contradiction{{dubious|date=November 2022}}: while its truth predicate is only partial, it does give truth value (true/false) to propositions such as the one built in Tarski's proof,{{dubious|reason=Based on what I understand of Kripke semantics based on Goldblatt's book, this seems likely to be incorrect, because propositions can either not be given any truth values, or be given one truth value in one part of the poset (partially ordered set) and another truth value in another part of the poset. So this really sounds to me like a misinterpretation of both partial orders in general (which need not be total orders a.k.a. linear orders) as well as Kripke semantics in particular.
|date=November 2022}} and is therefore inconsistent. While there is still a debate on whether Tarski's proof can be implemented to every similar partial truth system,{{clarify|date=November 2022|reason=
What is a "partial truth system"? (I.e. the precise mathematical definition?) And in what metalanguage/metalogic are people trying to prove the consistency of these "partial truth systems" in? Also, no one has shown ZFC to be consistent - does that mean this paragraph is claiming that the foundations of mathematics are dubious? Maybe they are, but it's not clear to me either way what this is claiming. E.g. is it conflating "consistency" or "completeness" of a theory (expressed in a given logic) with "consistency" or "completeness" of a given logic?
}} none have been shown to be consistent by [[Consistency proof|acceptable methods]] used in [[mathematical logic]].{{citation needed|date=November 2022}}

[[Kripke semantics|Kripke's semantics]] are related to the use of [[topos|topoi]] and other concepts from [[category theory]] in the study of [[mathematical logic]].<ref>{{Cite book |last=Goldblatt |first=Robert |url=https://www.worldcat.org/oclc/9622076 |title=Topoi, the categorial analysis of logic |date=1983 |publisher=Sole distributors for the U.S.A. and Canada, Elsevier North-Holland |isbn=0-444-86711-2 |edition=revised |location=Amsterdam |oclc=9622076}}</ref> They provide a choice of formal semantics for [[intuitionistic logic]].

==Folk beliefs==
The [[truth predicate]] "''P'' is true" has great practical value in human language, allowing ''efficient'' endorsement or impeaching of claims made by others, to emphasize the truth or falsity of a statement, or to enable various indirect ([[Gricean]]) conversational implications.<ref>{{cite book|last1=Scharp|first1=Kevin|title=Replacing truth|date=2013|publisher=Oxford Univ. Press|location=Oxford|isbn=978-0-19-965385-0|edition=First|chapter=6: What is the Use?}}</ref> Individuals or societies will sometime punish "false" statements to deter falsehoods;<ref>{{cite web|title=truth {{!}} philosophy and logic|url=https://www.britannica.com/topic/truth-philosophy-and-logic|website=Encyclopedia Britannica|access-date=28 July 2017|language=en|quote=Truth is important. Believing what is not true is apt to spoil a person’s plans and may even cost him his life. Telling what is not true may result in legal and social penalties.|archive-date=5 June 2019|archive-url=https://web.archive.org/web/20190605223755/https://www.britannica.com/topic/truth-philosophy-and-logic|url-status=live}}</ref> the oldest surviving law text, the [[Code of Ur-Nammu]], lists penalties for false accusations of sorcery or adultery, as well as for committing [[perjury]] in court. Even four-year-old children can pass simple "[[Theory of mind#False-belief task|false belief]]" tests and successfully assess that another individual's belief diverges from reality in a specific way;<ref>Wellman, Henry M., David Cross, and Julanne Watson. "Meta‐analysis of theory‐of‐mind development: the truth about false belief." Child development 72.3 (2001): 655–84.</ref> by adulthood there are strong implicit intuitions about "truth" that form a "folk theory" of truth. These intuitions include:<ref>Lynch, Michael P. "Alethic functionalism and our folk theory of truth." Synthese 145.1 (2005): 29–43.</ref>
* Capture (''T''-in): If ''P'', then ''P'' is true
* Release (''T''-out): If ''P'' is true, then ''P''
* [[Law of noncontradiction|Noncontradiction]]: A statement cannot be both true and false
* Normativity: It is usually good to believe what is true
* False beliefs: The notion that believing a statement does not necessarily make it true

Like many folk theories, the folk theory of truth is useful in everyday life but, upon deep analysis, turns out to be technically self-contradictory; in particular, any [[formal system]] that fully obeys "capture and release" semantics for truth (also known as the ''[[T-schema]]''), and that also respects classical logic, is provably [[inconsistent]] and succumbs to the [[liar paradox]] or to a similar contradiction.<ref>Bueno, Otávio, and Mark Colyvan. "Logical non-apriorism and the law of non-contradiction." The law of non-contradiction: New philosophical essays (2004): 156–75.</ref>

==Views==
{{summarize section|date=March 2024}}
===Ancient Greek philosophy===

{{see also| Aletheia}}
[[Socrates]]', [[Plato]]'s and [[Aristotle]]'s ideas about truth are seen by some as consistent with [[Correspondence theory of truth|correspondence theory]]. In his ''[[Metaphysics (Aristotle)|Metaphysics]]'', Aristotle stated: "To say of what is that it is not, or of what is not that it is, is false, while to say of what is that it is, and of what is not that it is not, is true".<ref name=StanfordCorr>David, Marion (2005). [http://plato.stanford.edu/entries/truth-correspondence/#1 "Correspondence Theory of Truth"] {{Webarchive|url=https://web.archive.org/web/20140225071446/http://plato.stanford.edu/entries/truth-correspondence/#1 |date=2014-02-25 }} in [[Stanford Encyclopedia of Philosophy]]</ref> The [[Stanford Encyclopedia of Philosophy]] proceeds to say of Aristotle:

<blockquote>[...] Aristotle sounds much more like a genuine correspondence theorist in the ''Categories'' (12b11, 14b14), where he talks of "underlying things" that make statements true and implies that these "things" (pragmata) are logically structured situations or facts (viz., his sitting, his not sitting). Most influential is his claim in ''De Interpretatione'' (16a3) that thoughts are "likenesses" (homoiosis) of things. Although he nowhere defines truth in terms of a thought's likeness to a thing or fact, it is clear that such a definition would fit well into his overall philosophy of mind. [...]<ref name=StanfordCorr/></blockquote>

Similar statements can also be found in Plato's dialogues (''[[Cratylus (dialogue)|Cratylus]]'' 385b2, ''[[Sophist (dialogue)|Sophist]]'' 263b).<ref name=StanfordCorr/>

Some Greek philosophers maintained that truth was either not accessible to mortals, or of greatly limited accessibility, forming early [[philosophical skepticism]]. Among these were [[Xenophanes]], [[Democritus]], and [[Pyrrho]], the founder of [[Pyrrhonism]], who argued that there was no criterion of truth.

The [[Epicureanism|Epicureans]] believed that all sense perceptions were true,<ref>{{Cite book|title=The Cambridge Companion to Epicureanism|url=https://archive.org/details/cambridgecompani00warr_995|url-access=limited|last=Asmis|first=Elizabeth|publisher=Cambridge University Press|year=2009|editor-last=Warren|editor-first=James|page=[https://archive.org/details/cambridgecompani00warr_995/page/n93 84]|chapter=Epicurean empiricism}}</ref><ref name=":252">{{Cite book|title=Epicureanism|last=O'Keefe|first=Tim|publisher=University of California Press|year=2010|pages=97–98}}</ref> and that errors arise in how we judge those perceptions.

The [[Stoicism|Stoics]] conceived truth as accessible from [[Phantasiai|impressions]] via [[katalepsis|cognitive grasping]].

===Medieval philosophy===

====Avicenna (980–1037)====
In [[early Islamic philosophy]], [[Avicenna]] (Ibn Sina) defined truth in his work [[Kitab Al-Shifa]] ''[[The Book of Healing]]'', Book I, Chapter 8, as:
{{blockquote|What corresponds in the mind to what is outside it.<ref>Osman Amin (2007), "Influence of Muslim Philosophy on the West", ''Monthly Renaissance'' 17 (11).</ref>}}

[[Avicenna]] elaborated on his definition of truth later in Book VIII, Chapter 6:
{{Blockquote|The truth of a thing is the property of the being of each thing which has been established in it.<ref name=Aertsen>Jan A. Aertsen (1988), ''Nature and Creature: Thomas Aquinas's Way of Thought'', p. 152. Brill, 978-90-04-08451-3.</ref>}}

This definition is but a rendering of the [[medieval]] Latin translation of the work by Simone van Riet.<ref>{{cite book
| author = Simone van Riet
| title = Liber de philosophia prima, sive Scientia divina
| page = 413
| language = la}}</ref> A modern translation of the original Arabic text states:

{{blockquote|Truth is also said of the veridical belief in the existence [of something].<ref>{{cite book
| title = Avicenna: The Metaphysics of The Healing
| publisher = Brigham Young University Press
| year = 2005
| page = 284
| others = Michael E. Marmura
| isbn = 978-0-934893-77-0
}}</ref>}}

====Aquinas (1225–1274)====
Reevaluating Avicenna, and also Augustine and Aristotle, [[Thomas Aquinas]] stated in his ''Disputed Questions on Truth'':

{{blockquote|A natural thing, being placed between two intellects, is called ''true'' insofar as it conforms to either. It is said to be true with respect to its conformity with the divine intellect insofar as it fulfills the end to which it was ordained by the divine intellect... With respect to its conformity with a human intellect, a thing is said to be true insofar as it is such as to cause a true estimate about itself.<ref>''Disputed Questions on Truth'', 1, 2, c, reply to Obj. 1. Trans. Mulligan, McGlynn, Schmidt, ''Truth'', vol. I, pp. 10–12.</ref>}}

Thus, for Aquinas, the truth of the human intellect (logical truth) is based on the truth in things (ontological truth).<ref>"Veritas supra ens fundatur" (Truth is founded on being). ''Disputed Questions on Truth'', 10, 2, reply to Obj. 3.</ref> Following this, he wrote an elegant re-statement of Aristotle's view in his [http://www.newadvent.org/summa/1016.htm Summa I.16.1]:

{{blockquote|Veritas est adæquatio intellectus et rei. (Truth is the conformity of the intellect and things.)}} Aquinas also said that real things participate in the act of being of the [[God|Creator God]] who is Subsistent Being, Intelligence, and Truth. Thus, these beings possess the light of intelligibility and are knowable. These things (beings; [[reality]]) are the foundation of the truth that is found in the human mind, when it acquires knowledge of things, first through the [[sense]]s, then through the [[understanding]] and the [[judgement]] done by [[reason]]. For Aquinas, human [[intelligence]] ("intus", within and "legere", to read) has the capability to reach the [[essence]] and [[existence]] of things because it has a non-material, [[Spirituality|spiritual]] element, although some moral, educational, and other elements might interfere with its capability.

====Changing concepts of truth in the Middle Ages====
[[Richard Firth Green]] examined the concept of truth in the later Middle Ages in his ''A Crisis of Truth'', and concludes that roughly during the reign of [[Richard II of England]] the very meaning of the concept changes. The idea of the oath, which was so much part and parcel of for instance [[Romance (heroic literature)|Romance literature]],<ref>{{cite journal|last=Rock|first=Catherine A.|year=2006|title=Forsworn and Fordone: Arcite as Oath-Breaker in the "Knight's Tale"|journal=[[The Chaucer Review]]|volume=40|issue=4|pages=416–32|jstor=25094334|doi=10.1353/cr.2006.0009|s2cid=159853483 }}</ref> changes from a subjective concept to a more objective one (in [[Derek Pearsall]]'s summary).<ref name=pearsall>{{cite journal|last=Pearsall|first=Derek|year=2004|title=Medieval Literature and Historical Enquiry|journal=[[Modern Language Review]]|volume=99|issue=4|pages=xxxi–xlii|jstor=3738608|doi=10.2307/3738608|s2cid=155446847 }}</ref> Whereas truth (the "trouthe" of ''[[Sir Gawain and the Green Knight]]'') was first "an ethical truth in which truth is understood to reside in persons", in Ricardian England it "transforms...into a [[political truth]] in which truth is understood to reside in documents".<ref>{{cite journal|last=Fowler|first=Elizabeth|year=2003|title=Rev. of Green, ''A Crisis of Truth''|journal=[[Speculum (journal)|Speculum]]|volume=78|issue=1|pages=179–82|jstor=3301477|doi=10.1017/S0038713400099310}}</ref>

===Modern philosophy===

====Kant (1724–1804)====
[[Immanuel Kant]] endorses a definition of truth along the lines of the correspondence theory of truth.<ref name=StanfordCorr/> Kant writes in the ''[[Critique of Pure Reason]]'': "The nominal definition of truth, namely that it is the agreement of cognition with its object, is here granted and presupposed".<ref name = "Kant-1781">Kant, Immanuel (1781/1787), ''[[Critique of Pure Reason]]''. Translated and edited by Paul Guyer and Allen W. Wood (Cambridge: Cambridge University Press, 1998), A58/B82.</ref> He denies that this correspondence definition of truth provides us with a test or criterion to establish which judgements are true. He states in his logic lectures:
<blockquote>[...] Truth, it is said, consists in the agreement of cognition with its object. In consequence of this mere nominal definition, my cognition, to count as true, is supposed to agree with its object. Now I can compare the object with my cognition, however, only ''by cognizing it''. Hence my cognition is supposed to confirm itself, which is far short of being sufficient for truth. For since the object is outside me, the cognition in me, all I can ever pass judgement on is whether my cognition of the object agrees with my cognition of the object.

The ancients called such a circle in explanation a ''diallelon''. And actually the logicians were always reproached with this mistake by the sceptics, who observed that with this definition of truth it is just as when someone makes a statement before a court and in doing so appeals to a witness with whom no one is acquainted, but who wants to establish his credibility by maintaining that the one who called him as witness is an honest man. The accusation was grounded, too. Only the solution of the indicated problem is impossible without qualification and for every man. [...]<ref name = "Kant-1801">Kant, Immanuel (1801), ''The Jäsche Logic'', in ''Lectures on Logic''. Translated and edited by J. Michael Young (Cambridge: Cambridge University Press, 1992), pp. 557–58.</ref></blockquote>
This passage makes use of his distinction between nominal and real definitions. A nominal definition explains the meaning of a linguistic expression. A real definition describes the essence of certain [[Object (philosophy)|objects]] and enables us to determine whether any given item falls within the definition.<ref name = "Vanzo-Kant">Alberto Vanzo, "Kant on the Nominal Definition of Truth", ''Kant-Studien'', 101 (2010), pp. 147–66.</ref> Kant holds that the definition of truth is merely nominal and, therefore, we cannot employ it to establish which judgements are true. According to Kant, the ancient skeptics were critical of the logicians for holding that, by means of a merely nominal definition of truth, they can establish which judgements are true. They were trying to do something that is "impossible without qualification and for every man".<ref name = "Kant-1801" />

====Hegel (1770–1831)====
[[G. W. F. Hegel]] distanced his philosophy from empiricism by presenting truth as a self-moving process, rather than a matter of merely subjective thoughts. Hegel's truth is analogous to [[organics]]{{dn|date=May 2024}} in that it is self-determining according to its own inner logic: "Truth is its own self-movement within itself."<ref>"Die Wahrheit ist die Bewegung ihrer an ihr selbst." ''[[The Phenomenology of Spirit]]'', Preface, ¶ 48</ref>

====Schopenhauer (1788–1860)====
For [[Arthur Schopenhauer]],<ref>''On the Fourfold Root of the Principle of Sufficient Reason'', §§ 29–33</ref> a [[judgment]] is a combination or separation of two or more [[concept]]s. If a judgment is to be an expression of [[knowledge]], it must have a [[Principle of sufficient reason|sufficient reason]] or ground by which the judgment could be called true. ''Truth is the reference of a judgment to something different from itself which is its sufficient reason (ground)''. Judgments can have material, formal, transcendental, or metalogical truth. A judgment has ''material'' truth if its concepts are based on intuitive perceptions that are generated from sensations. If a judgment has its reason (ground) in another judgment, its truth is called logical or ''formal''. If a judgment, of, for example, pure mathematics or pure science, is based on the forms (space, time, causality) of intuitive, empirical knowledge, then the judgment has ''transcendental'' truth.

====Kierkegaard (1813–1855)====
When [[Søren Kierkegaard]], as his character ''Johannes Climacus'', ends his writings: ''My thesis was, subjectivity, heartfelt is the truth'', he does not advocate for [[subjectivism]] in its extreme form (the theory that something is true simply because one believes it to be so), but rather that the objective approach to matters of personal truth cannot shed any light upon that which is most essential to a person's life. Objective truths are concerned with the facts of a person's being, while subjective truths are concerned with a person's way of being. Kierkegaard agrees that objective truths for the study of subjects like mathematics, science, and history are relevant and necessary, but argues that objective truths do not shed any light on a person's inner relationship to existence. At best, these truths can only provide a severely narrowed perspective that has little to do with one's actual experience of life.<ref>Kierkegaard, Søren. ''Concluding Unscientific Postscript''. Princeton, Princeton University Press, 1992</ref>

While objective truths are final and static, subjective truths are continuing and dynamic. The truth of one's existence is a living, inward, and subjective experience that is always in the process of becoming. The values, morals, and spiritual approaches a person adopts, while not denying the existence of objective truths of those beliefs, can only become truly known when they have been inwardly appropriated through subjective experience. Thus, Kierkegaard criticizes all systematic philosophies which attempt to know life or the truth of existence via theories and objective knowledge about reality. As Kierkegaard claims, human truth is something that is continually occurring, and a human being cannot find truth separate from the subjective experience of one's own existing, defined by the values and fundamental essence that consist of one's way of life.<ref>Watts, Michael. ''Kierkegaard'', Oxford: Oneworld Publications, 2003</ref>

====Nietzsche (1844–1900)====
[[Friedrich Nietzsche]] believed the search for truth, or 'the will to truth', was a consequence of the ''[[will to power]]'' of philosophers. He thought that truth should be used as long as it promoted life and the ''will to power'', and he thought untruth was better than truth if it had this life enhancement as a consequence. As he wrote in ''[[Beyond Good and Evil]]'', "The falseness of a judgment is to us not necessarily an objection to a judgment... The question is to what extent it is life-advancing, life-preserving, species-preserving, perhaps even species-breeding..." (aphorism 4). He proposed the ''will to power'' as a truth only because, according to him, it was the most life-affirming and sincere perspective one could have.

Robert Wicks discusses Nietzsche's basic view of truth as follows:
<blockquote>[...] Some scholars regard Nietzsche's 1873 unpublished essay, "On Truth and Lies in a Nonmoral Sense" ("Über Wahrheit und Lüge im außermoralischen Sinn") as a keystone in his thought. In this essay, Nietzsche rejects the idea of universal constants, and claims that what we call "truth" is only "a mobile army of metaphors, metonyms, and anthropomorphisms." His view at this time is that arbitrariness completely prevails within human experience: concepts originate via the very artistic transference of nerve stimuli into images; "truth" is nothing more than the invention of fixed conventions for merely practical purposes, especially those of repose, security and consistence. [...]<ref>Robert Wicks, [http://plato.stanford.edu/entries/nietzsche/#EarWri187187 Friedrich Nietzsche – Early Writings: 1872–1876] {{Webarchive|url=https://web.archive.org/web/20180904231138/http://plato.stanford.edu/entries/nietzsche/#EarWri187187 |date=2018-09-04 }}, The Stanford Encyclopedia of Philosophy (Spring 2008 Edition), Edward N. Zalta (ed.)</ref></blockquote>

Separately Nietzsche suggested that an ancient, metaphysical belief in the divinity of Truth lies at the heart of and has served as the foundation for the entire subsequent [[Western intellectual tradition]]: "But you will have gathered what I am getting at, namely, that it is still a metaphysical faith on which our faith in science rests—that even we knowers of today, we godless anti-metaphysicians still take ''our'' fire too, from the flame lit by the thousand-year old faith, the Christian faith which was also Plato's faith, that God is Truth; that Truth is 'Divine'..."<ref>{{Cite book|url=https://books.google.com/books?id=Vf8KETLiKXMC&q=%22even+we+knowers+of+today%22&pg=PA201|title=Nietzsche: The Gay Science: With a Prelude in German Rhymes and an Appendix of Songs|first1=Friedrich|last1=Nietzsche|first2=Bernard|last2=Williams|first3=Josefine|last3=Nauckhoff|year=2001|publisher=Cambridge University Press|via=Google Books|isbn=978-0-521-63645-2}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=wMzu8j4D1SYC&q=god+is+truth&pg=PA112|title=Nietzsche: 'On the Genealogy of Morality' and Other Writings Student Edition|first=Friedrich|last=Nietzsche|year=2006|publisher=Cambridge University Press|via=Google Books|isbn=978-1-139-46121-4}}</ref>

Moreover, Nietzsche challenges the notion of objective truth, arguing that truths are human creations and serve practical purposes. He wrote, "Truths are illusions about which one has forgotten that this is what they are."<ref>{{Cite book|title=Beyond Good and Evil|first1=Friedrich|last1=Nietzsche|year=1997|publisher=Dover Publications|isbn=978-0486298689|page=46}}</ref> He argues that truth is a human invention, arising from the artistic transference of nerve stimuli into images, serving practical purposes like repose, security, and consistency; formed through metaphorical and rhetorical devices, shaped by societal conventions and forgotten origins: <blockquote>"What, then, is truth? A mobile army of metaphors, metonyms, and anthropomorphisms – in short, a sum of human relations which have been enhanced, transposed, and embellished poetically and rhetorically..."<ref>{{Cite book|url=https://books.google.com/books?id=qZAmAQAAIAAJ|title=The Portable Nietzsche|first1=Friedrich|last1=Nietzsche|year=1976|publisher=Penguin Books|isbn=978-0140150629|page=46}}</ref></blockquote>

Nietzsche argues that truth is always filtered through individual perspectives and shaped by various interests and biases. In "On the Genealogy of Morality," he asserts, "There are no facts, only interpretations."<ref>{{Cite book|url=https://books.google.com/books?id=rttCAgAAQBAJ&pg=PA73|title=On the Genealogy of Morality|first1=Friedrich|last1=Nietzsche|year=1887|publisher=Oxford University Press|isbn=978-0199537082|page=73}}</ref> He suggests that truth is subject to constant reinterpretation and change, influenced by shifting cultural and historical contexts as he writes in "Thus Spoke Zarathustra" that "I say unto you: one must still have chaos in oneself to be able to give birth to a dancing star."<ref>{{Cite book|url=https://books.google.com/books?id=ezSQDwAAQBAJ&pg=PT121|title=Thus Spoke Zarathustra|first1=Friedrich|last1=Nietzsche|year=1883|publisher=Penguin UK|isbn=9780140441185|page=46}}</ref> In the same book, Zarathustra proclaims, "Truths are illusions which we have forgotten are illusions; they are metaphors that have become worn out and have been drained of sensuous force, coins which have lost their embossing and are now considered as metal and no longer as coins."<ref>{{Cite book|url=https://books.google.com/books?id=ezSQDwAAQBAJ&pg=PT121|title=Thus Spoke Zarathustra|first1=Friedrich|last1=Nietzsche|year=1883|publisher=Penguin UK|isbn=9780140441185|page=121}}</ref>

====Heidegger (1889–1976)====
Other philosophers take this common meaning to be secondary and derivative. According to [[Martin Heidegger]], the original meaning and [[essence]] of truth in [[Ancient Greece]] was unconcealment, or the revealing or bringing of what was previously hidden into the open, as indicated by the original Greek term for truth, {{lang|el-latn|[[aletheia]]}}.<ref>{{Cite web |last=Heidegger |first=Martin |title=On the Essence of Truth |url=https://aphelis.net/wp-content/uploads/2011/02/Martin-Heidegger-On-the-Essence-of-Truth.pdf |access-date=3 October 2023 |website=aphelis.net}}</ref><ref>{{cite web|url=http://www.ontology.co/heidegger-aletheia.htm|title=Martin Heidegger on Aletheia (Truth) as Unconcealment|access-date=2010-08-13|archive-url=https://web.archive.org/web/20150626101634/http://www.ontology.co/heidegger-aletheia.htm|archive-date=2015-06-26|url-status=dead}}</ref> On this view, the conception of truth as correctness is a later derivation from the concept's original essence, a development Heidegger traces to the [[Latin]] term {{lang|la|[[veritas]]}}. Owing to the primacy of [[ontology]] in Heidegger's philosophy, he considered this truth to lie within Being itself, and already in ''[[Being and Time]]'' (1927) had identified truth with "[[Heideggerian terminology|being-truth]]" or the "truth of Being" and partially with the Kantian [[thing-in-itself]] in an epistemology essentially concerning a mode of ''[[Dasein]]''.<ref>{{Cite book |last=Heidegger |first=Martin |title=Being and Time |publisher=Basil Blackswell |year=1962 |edition=1st |location=Oxford |pages=256–274}}</ref>

==== Sartre (1905–1980) ====
In ''[[Being and Nothingness]]'' (1943), partially following Heidegger, [[Jean-Paul Sartre]] identified our knowledge of the truth as a relation between the [[Being in itself|in-itself]] and [[for-itself]] of [[being]] - yet simultaneously closely connected in this vein to the data available to the material personhood, in the body, of an individual in their interaction with the world and others - with Sartre's description that "the world is human" allowing him to postulate all truth as strictly ''understood'' by [[self-consciousness]] as self-consciousness ''of'' something,<ref>{{Cite book |last=Sartre |first=Jean-Paul |title=Being and Nothingness: An Essay on Phenomenological Ontolgoy |publisher=Philosophical Library |year=1956 |edition=1st |location=New York}}</ref> a view also preceded by [[Henri Bergson]] in ''[[Time and Free Will]]'' (1889), the reading of which Sartre had credited for his interest in philosophy.<ref>{{Cite book |last=Sartre |first=Jean-Paul |url=https://www.worldcat.org/oclc/56549324 |title=The imaginary : a phenomenological psychology of the imagination |date=2004 |publisher=Routledge |others=Arlette Elkaïm-Sartre, Jonathan Webber |isbn=0-203-64410-7 |location=London |oclc=56549324}}</ref> This first [[Existentialism|existentialist]] theory, more fully fleshed out in Sartre's essay ''Truth and Existence'' (1948), which already demonstrates a more radical departure from Heidegger in its emphasis on the primacy of the idea, already formulated in ''Being and Nothingness'', of [[Existence precedes essence|existence as preceding essence]] in its role in the formulation of truth, has nevertheless been critically examined as [[Idealism|idealist]] rather than [[Materialism|materialist]] in its departure from more traditional idealist epistemologies such as those of [[Ancient Greek philosophy]] in Plato and Aristotle, and staying as does Heidegger with Kant.<ref>{{Cite journal |last=Wilder |first=Kathleen |title=Truth and existence: The idealism in Sartre's theory of truth |journal=International Journal of Philosophical Studies |year=1995 |volume=3 |issue=1 |pages=91–109|doi=10.1080/09672559508570805 }}</ref>

Later, in the ''[[Search for a Method]]'' (1957), in which Sartre used a unification of existentialism and [[Marxism]] that he would later formulate in the ''[[Critique of Dialectical Reason]]'' (1960), Sartre, with his growing emphasis on the [[Georg Wilhelm Friedrich Hegel|Hegelian]] totalisation of [[historicity]], posited a conception of truth still defined by its process of relation to a container giving it material meaning, but with specfiic reference to a role in this broader totalisation, for "subjectivity is neither everything nor nothing; it represents a moment in the objective process (that in which externality is internalised), and this moment is perpetually eliminated only to be perpetually reborn": "For us, truth is something which becomes, it ''has'' and ''will have'' become. It is a totalisation which is forever being totalised. Particular facts do not signify anything; they are neither true nor false so long as they are not related, through the mediation of various partial totalities, to the totalisation in process." Sartre describes this as a "''[[Philosophical realism|realistic]]'' epistemology", developed out of [[Karl Marx|Marx]]'s ideas but with such a development only possible in an existentialist light, as with the theme of the whole work.<ref>{{Cite book |last=Sartre |first=Jean-Paul |title=Search for a Method |publisher=Knopf |year=1963 |edition=1st |location=New York}}</ref><ref>{{Citation |last=Skirke |first=Christian |title=Jean-Paul Sartre |date=2014-04-28 |url=http://dx.doi.org/10.1093/obo/9780195396577-0192 |work=Philosophy |publisher=Oxford University Press |doi=10.1093/obo/9780195396577-0192 |isbn=978-0-19-539657-7 |access-date=2023-02-25}}</ref> In an early segment of the lengthy two-volume ''Critique'' of 1960, Sartre continued to describe truth as a "totalising" "truth of history" to be interpreted by a "Marxist historian", whilst his break with Heidegger's epistemological ideas is finalised in the description of a seemingly antinomous "[[Dualism in cosmology|dualism]] of Being and Truth" as the essence of a truly Marxist epistemology.<ref>{{Cite book |last=Sartre |first=Jean-Paul |title=Critique of Dialectical Reason |publisher=Verso |year=2004 |location=London |pages=15–41}}</ref>

==== Camus (1913–1960) ====
The well-regarded French philosopher [[Albert Camus]] wrote in his famous essay, ''[[The Myth of Sisyphus]]'' (1942), that "there are truths but no truth", in fundamental agreement with Nietzsche's [[perspectivism]], and favourably cites Kierkergaad in posing that "no truth is absolute or can render satisfactory an existence that is impossible in itself".<ref>{{Cite book |last=Camus |first=Albert |title=The Myth of Sisyphus and Other Essays |publisher=Penguin Group |year=2020 |edition=1st |location=London |pages=14–16}}</ref> Later, in ''[[The Rebel (book)|The Rebel]]'' (1951), he declared, akin to Sartre, that "the very lowest form of truth" is "the truth of history",<ref>{{Cite book |last=Camus |first=Albert |title=The Rebel |publisher=Penguin Group |year=2013 |edition=3rd |location=London |pages=180}}</ref> but describes this in the context of its abuse and like Kierkergaad in the ''[[Concluding Unscientific Postscript to Philosophical Fragments|Concluding Unscientific Postscript]]'' he criticizes Hegel in holding a historical attitude "which consists of saying: 'This is truth, which appears to us, however, to be error, but which is true precisely because it happens to be error. As for proof, it is not I, but history, at its conclusion, that will furnish it.'"<ref>{{Cite book |last=Camus |first=Albert |title=The Rebel |publisher=Penguin Group |year=2013 |edition=3rd |location=London |pages=90}}</ref>

====Whitehead (1861–1947)====
[[Alfred North Whitehead]], a British mathematician who became an American philosopher, said: "There are no whole truths; all truths are half-truths. It is trying to treat them as whole truths that plays the devil".<ref>Alfred North Whitehead, ''Dialogues'', 1954: Prologue.</ref>

The logical progression or connection of this line of thought is to conclude that truth can lie, since [[half-truth]]s are deceptive and may lead to a false conclusion.

====Peirce (1839–1914)====
[[Pragmatists]] like [[C. S. Peirce]] take truth to have some manner of essential relation to human practices for inquiring into and [[discovering]] truth, with Peirce himself holding that truth is what human [[inquiry]] would find out on a matter, if our practice of inquiry were taken as far as it could profitably go: "The opinion which is fated to be ultimately agreed to by all who investigate, is what we mean by the truth..."<ref>{{cite web|url=http://www.peirce.org/writings/p119.html|title=How to Make Our Ideas Clear|access-date=2015-08-31|archive-date=2018-10-03|archive-url=https://web.archive.org/web/20181003203035/http://www.peirce.org/writings/p119.html|url-status=live}}</ref>

====Nishida (1870–1945)====
According to [[Kitaro Nishida]], "knowledge of things in the world begins with the differentiation of unitary consciousness into knower and known and ends with self and things becoming one again. Such unification takes form not only in knowing but in the valuing (of truth) that directs knowing, the willing that directs action, and the feeling or emotive reach that directs sensing."<ref>John Maraldo, [http://plato.stanford.edu/entries/nishida-kitaro/#2.2 Nishida Kitarô – Self-Awareness] {{Webarchive|url=https://web.archive.org/web/20101204043326/http://plato.stanford.edu/entries/nishida-kitaro/#2.2 |date=2010-12-04 }}, in: ''The Stanford Encyclopedia of Philosophy'' (Spring 2005 Edition), Edward N. Zalta (ed.)</ref>

====Fromm (1900–1980)====
[[Erich Fromm]] finds that trying to discuss truth as "absolute truth" is sterile and that emphasis ought to be placed on "optimal truth". He considers truth as stemming from the survival imperative of grasping one's environment physically and intellectually, whereby young children instinctively seek truth so as to orient themselves in "a strange and powerful world". The accuracy of their perceived approximation of the truth will therefore have direct consequences on their ability to deal with their environment. Fromm can be understood to define truth as a functional approximation of reality. His vision of optimal truth is described partly in ''Man for Himself: An Inquiry into the Psychology of Ethics'' (1947), from which excerpts are included below.

: the dichotomy between 'absolute = perfect' and 'relative = imperfect' has been superseded in all fields of scientific thought, where "it is generally recognized that there is no absolute truth but nevertheless that there are objectively valid laws and principles".

: In that respect, "a scientifically or rationally valid statement means that the power of reason is applied to all the available data of observation without any of them being suppressed or falsified for the sake of the desired result". The history of science is "a history of inadequate and incomplete statements, and every new insight makes possible the recognition of the inadequacies of previous propositions and offers a springboard for creating a more adequate formulation."

: As a result "the history of thought is the history of an ever-increasing approximation to the truth. Scientific knowledge is not absolute but optimal; it contains the optimum of truth attainable in a given historical period." Fromm furthermore notes that "different cultures have emphasized various aspects of the truth" and that increasing interaction between cultures allows for these aspects to reconcile and integrate, increasing further the approximation to the truth.

====Colin Murray Turbayne (1916-2006)====

For [[Colin Murray Turbayne]], conceptual [[metaphor]]s play a central role in the search for "objective truth" throughout the history of Western philosophical thought. In his ''The Myth of Metaphor'' he argued that metaphorical constructs are essential to any language which lays claim to embody both richness and a depth of understanding.<ref name="ReferenceB"></ref><ref>''[[Ratio (journal)|Ratio]]'' 7 (1965):176.</ref> He further argued that the mind is not a "[[Tabula Rasa]]" upon which "objective truth" becomes imprinted. Consequently, the failure to properly interpret metaphorical language as a "category mistake" ultimately serves to distort our understanding of truth. In addition, the failure to recognize [[dead metaphor]]s introduces unnecessary obfuscation during the search for truth. This is most evident in the adoption of "[[substance theory|substance]]" and "[[Stratum (linguistics)#Substratum|substratum]]" within [[Rene Des Cartes]]'s [[dualism]],<ref name="ReferenceB">[https://books.google.com/books?id=DsKvAwAAQBAJ&dq=Colin+Murray+Turbayne&pg=PA2451 ''Dictionary of Modern American Philosophers'' Shook, John. 2005 Biography of Colin Murray Turbayne on Google Books]</ref><ref name=Hesse1966></ref><ref>[http://www.sas.rochester.edu/phl/about/prize.html The University of Rochester Department of Philosophy- Berkley Essay Prize Competition - History of the Prize Colin Turbayne's ''The Myth of Metaphor'' on rochester.edu]</ref><ref>[https://www.theculturium.com/greg-goode-colin-turbayne-and-the-myth-of-metaphor/ ''The Culturium'' - "Greg Goode Colin Turbayne and the Myth of Metaphor" January 15,2017 on theculturium.com]</ref><ref name="ReferenceC">[https://books.google.com/books?id=DsKvAwAAQBAJ&dq=Colin+Murray+Turbayne&pg=PA2451 ''Dictionary of Modern American Philosophers'' Shook, John. 2005 p. 2451 Biography of Colin Murray Turbayne on Google Books]</ref><ref name=Hesse1966>{{cite journal |last1=Hesse |first1=Mary |title=Review of The Myth of Metaphor |journal=Foundations of Language |date=1966 |volume=2 |issue=3 |pages=282–284 |jstor=25000234 }}</ref> the incorporation of metaphors for the "mind" and "language" by Plato and Aristotle into the writings of both [[George Berkeley]] and [[Immanuel Kant]]<ref name=Turbayne1991>{{cite book | last=Turbayne | first=Colin Murray | title=Metaphors for the mind : the creative mind and its origins | publisher=University of South Carolina Press | publication-place=Columbia, S.C. | date=1991 | isbn=0-87249-699-6 | oclc=21675468}}</ref><ref name=Bracken1994>{{cite journal | last=Bracken | first=Harry M. | title=Colin Murray Turbayne., Metaphors for the Mind: The Creative Mind and Its Origins | journal=International Studies in Philosophy | publisher=Philosophy Documentation Center | volume=26 | issue=2 | year=1994 | issn=0270-5664 | doi=10.5840/intstudphil1994262171 | pages=151}}</ref> and the emergence of the "procreation" metaphor in Plato's ''[[Timaeus (dialogue)|Timeus]]'' within modern theories of both "thought" and "language". He concluded in his book ''Metaphors of the Mind: The Creative Mind and Its Origins'' by arguing that in each of these cases, the use of deductive reasoning over time has distorted the underlying meaning of several ancient dead metaphors. In the process, mankind has misconstrued them as "objective truths" and become the unwitting victim of the very metaphors he initially created in his search for truth..<ref name=Turbayne1991>{{cite book | last=Turbayne | first=Colin Murray | title=Metaphors for the mind : the creative mind and its origins | publisher=University of South Carolina Press | publication-place=Columbia, S.C. | date=1991 | isbn=0-87249-699-6 | oclc=21675468}}</ref><ref name=Bracken1994>{{cite journal | last=Bracken | first=Harry M. | title=Colin Murray Turbayne., Metaphors for the Mind: The Creative Mind and Its Origins | journal=International Studies in Philosophy | publisher=Philosophy Documentation Center | volume=26 | issue=2 | year=1994 | issn=0270-5664 | doi=10.5840/intstudphil1994262171 | pages=151}}</ref> <ref name=Turbayne1991 /><ref name=Bracken1994 />

====Foucault (1926–1984)====
Truth, says [[Michel Foucault]], is problematic when any attempt is made to see truth as an "objective" quality. He prefers not to use the term truth itself but "Regimes of Truth". In his historical investigations he found truth to be something that was itself a part of, or embedded within, a given power structure. Thus Foucault's view shares much in common with the concepts of [[#Nietzsche (1844–1900)|Nietzsche]]. Truth for Foucault is also something that shifts through various [[episteme]] throughout history.<ref>Foucault, M. "The Order of Things", London: Vintage Books, 1970 (1966)</ref>

====Baudrillard (1929–2007)====
[[Jean Baudrillard]] considered truth to be largely simulated, that is pretending to have something, as opposed to dissimulation, pretending to not have something. He took his cue from [[iconoclasm|iconoclasts]] whom he claims knew that images of God demonstrated that God did not exist.<ref name = "Baudrillard">Jean Baudrillard. Simulacra and Simulation. Michigan: Michigan University Press, 1994.</ref> Baudrillard wrote in "Precession of the Simulacra":
::The [[simulacrum]] is never that which conceals the truth—it is the truth which conceals that there is none. The simulacrum is true.
::—Ecclesiastes<ref>Baudrillard, Jean. [http://www.stanford.edu/dept/HPS/Baudrillard/Baudrillard_Simulacra.html "Simulacra and Simulations", in ''Selected Writings''] {{webarchive|url=https://web.archive.org/web/20040209024621/http://www.stanford.edu/dept/HPS/Baudrillard/Baudrillard_Simulacra.html |date=2004-02-09 }}, ed. [[Mark Poster]], [[Stanford University Press]], 1988; 166 ''ff''</ref><ref>Baudrillard's attribution of this quote to [[Ecclesiastes]] is deliberately fictional. "Baudrillard attributes this quote to Ecclesiastes. However, the quote is a fabrication (see Jean Baudrillard. Cool Memories III, 1991–95. London: Verso, 1997). Editor's note: In Fragments: Conversations With François L'Yvonnet. New York: Routledge, 2004:11, Baudrillard acknowledges this 'Borges-like' fabrication." Cited in footnote #4 in Smith, Richard G., [https://www.ubishops.ca/baudrillardstudies/vol2_1/smith.htm#_edn4 "Lights, Camera, Action: Baudrillard and the Performance of Representations"] {{Webarchive|url=https://web.archive.org/web/20180425060347/https://www2.ubishops.ca/baudrillardstudies/vol2_1/smith.htm#_edn4 |date=2018-04-25 }}, International Journal of Baudrillard Studies, Volume 2, Number 1 (January 2005)</ref>

Some examples of [[simulacra]] that Baudrillard cited were: that prisons simulate the "truth" that society is free; scandals (e.g., [[Watergate scandal|Watergate]]) simulate that corruption is corrected; Disney simulates that the U.S. itself is an adult place. Though such examples seem extreme, such extremity is an important part of Baudrillard's theory. For a less extreme example, movies usually end with the bad being punished, humiliated, or otherwise failing, thus affirming for viewers the concept that the good end happily and the bad unhappily, a narrative which implies that the status quo and established power structures are largely legitimate.<ref name = "Baudrillard"/>

==== Other contemporary positions ====
[[Truthmaker theory]] is "the branch of [[metaphysics]] that explores the relationships between what is true and what [[Existence|exists]]".<ref name="Asay">{{cite web |last1=Asay |first1=Jamin |title=Truthmaker Theory |url=https://iep.utm.edu/truth-ma/ |website=Internet Encyclopedia of Philosophy |access-date=2020-11-28 |archive-date=2020-11-24 |archive-url=https://web.archive.org/web/20201124032018/https://iep.utm.edu/truth-ma/ |url-status=live }}</ref> It is different from substantive theories of truth in the sense that it does not aim at giving a definition of what truth is. Instead, it has the goal of ''determining'' how truth depends on being.<ref>{{cite book |last1=Beebee |first1=Helen |last2=Dodd |first2=Julian |title=Truthmakers: The Contemporary Debate |year=2005 |publisher=Clarendon Press |pages=13–14 |url=https://philpapers.org/rec/BEETTC |access-date=2020-11-28 |archive-date=2020-12-06 |archive-url=https://web.archive.org/web/20201206202200/https://philpapers.org/rec/BEETTC |url-status=live }}</ref>

===Theological views===
{{primary_sources|date=March 2024}}
{{main|Religious views on truth}}

====Hinduism====
In [[Hinduism]], truth is defined as "unchangeable", "that which has no distortion", "that which is beyond distinctions of time, space, and person", "that which pervades the universe in all its constancy". The human body, therefore, is not completely true as it changes with time, for example. There are many references, properties and explanations of truth by Hindu sages that explain varied facets of truth, such as the national motto of [[India]]: "[[Satyameva Jayate]]" (Truth alone triumphs), as well as "Satyam muktaye" (Truth liberates), "Satya' is 'Parahit'artham' va'unmanaso yatha'rthatvam' satyam" (Satya is the benevolent use of words and the mind for the welfare of others or in other words responsibilities is truth too), "When one is firmly established in speaking truth, the fruits of action become subservient to him (patanjali yogasutras, sutra number 2.36), "The face of truth is covered by a golden bowl. ''Unveil it, O Pusan (Sun), so that I who have truth as my duty (satyadharma) may see it!''" (Brhadaranyaka V 15 1–4 and the brief IIsa Upanisad 15–18), Truth is superior to silence ([[Manusmriti]]), etc. Combined with other words, satya acts as a modifier, like ''ultra'' or ''highest'', or more literally ''truest'', connoting ''purity and excellence''. For example, satyaloka is the "highest heaven" and Satya Yuga is the "golden age" or best of the four cyclical cosmic ages in Hinduism, and so on. The Buddha, the 9th incarnation of Bhagwan Vishnu, quoted as such - Three things cannot be long hidden: the sun, the moon and the truth.

====Buddhism====
In [[Buddhism]], particularly in the [[Mahayana]] tradition, the notion of truth is often divided into the [[two truths doctrine]], which consists of [[Samvriti|relative or conventional truth]] and ultimate truth. The former refers to truth that is based on common understanding among ordinary people and is accepted as a practical basis for communication of higher truths. Ultimate truth necessarily transcends logic in the sphere of ordinary experience, and recognizes such phenomena as illusory. [[Mādhyamaka]] philosophy asserts that any doctrine can be analyzed with both divisions of truth. Affirmation and negation belong to relative and absolute truth respectively. Political law is regarded as relative, while religious law is absolute.

====Christianity====
[[File:What-is-truth02.jpg|thumb|upright|''What is Truth?'' by [[Nikolai Ge]], depicting [[John 18:38]], in which [[Pilate]] asks [[Christ]] "What is truth?"]]
[[Christianity]] has a [[Soteriology|soteriological]] view of truth. According to the [[Bible]] in [[John 14:6]], [[Jesus]] is quoted as having said "I am the way, the truth and the life: no man cometh unto the Father, but by me".

==See also==
{{Portal|Philosophy|Psychology}}
{{Div col|colwidth=15em}}
* [[Asha]]
* [[Confirmation holism]]
* [[Contextualism]]
* [[Degree of truth]]
* [[Disposition]]
* [[Eclecticism]]
* [[Epistemic theories of truth]]
* [[Imagination]]
* [[Independence (probability theory)]]
* [[Invariant (mathematics)]]
* [[McNamara fallacy]]
* [[Normative science]]
* ''[[On Truth and Lies in a Nonmoral Sense]]''
* [[Perspectivism]]
* [[Physical symbol system]]
* [[Public opinion]]
* [[Relativism]]
* [[Religious views on truth]]
* [[Revision theory]]
* [[Slingshot argument]]
* [[Subjectivity]]
* [[Tautology (logic)]]
* [[Tautology (rhetoric)]]
* [[Theory of justification]]
* [[Truth prevails]]
* [[Truthiness]]
* [[Unity of the proposition]]
* [[Verisimilitude]]
{{div col end}}

===Other theorists===
{{Div col|colwidth=20em}}
* [[Augustine of Hippo]]
* [[Brand Blanshard]]
* [[Hartry Field]]
* [[Gottlob Frege]]
* [[Paul Horwich]]
* [[Harold Joachim]]
* [[Karl Popper]]
{{div col end}}

==Notes==
{{Reflist}}

==References==
{{refbegin|20em}}
* [[Aristotle]], "The Categories", [[Harold P. Cooke]] (trans.), pp. 1–109 in ''Aristotle, Volume 1'', [[Loeb Classical Library]], [[Heinemann (book publisher)|William Heinemann]], London, 1938.
* Aristotle, "On Interpretation", [[Harold P. Cooke]] (trans.), pp. 111–79 in ''Aristotle, Volume 1'', Loeb Classical Library, William Heinemann, London, 1938.
* Aristotle, "[[Prior Analytics]]", [[Hugh Tredennick]] (trans.), pp. 181–531 in ''Aristotle, Volume 1'', Loeb Classical Library, William Heinemann, London, 1938.
* Aristotle, "[[On the Soul]]" (''De Anima''), [[W. S. Hett]] (trans.), pp. 1–203 in ''Aristotle, Volume 8'', Loeb Classical Library, William Heinemann, London, 1936.
* [[Robert Audi|Audi, Robert]] (ed., 1999), ''The Cambridge Dictionary of Philosophy'', Cambridge University Press, Cambridge, 1995. 2nd edition, 1999. Cited as CDP.
* [[James Mark Baldwin|Baldwin, James Mark]] (ed., 1901–1905), ''Dictionary of Philosophy and Psychology'', 3 volumes in 4, Macmillan, New York.
* [[Charles A. Baylis|Baylis, Charles A.]] (1962), "Truth", pp. 321–22 in Dagobert D. Runes (ed.), ''Dictionary of Philosophy'', Littlefield, Adams, and Company, Totowa, NJ.
* [[A. Cornelius Benjamin|Benjamin, A. Cornelius]] (1962), "Coherence Theory of Truth", p. 58 in Dagobert D. Runes (ed.), ''Dictionary of Philosophy'', Littlefield, Adams, and Company, Totowa, NJ.
* Blackburn, Simon, and Simmons, Keith (eds., 1999), ''Truth'', Oxford University Press, Oxford. Includes papers by James, Ramsey, Russell, Tarski, and more recent work.
* [[Subrahmanyan Chandrasekhar|Chandrasekhar, Subrahmanyan]] (1987), ''Truth and Beauty. Aesthetics and Motivations in Science'', University of Chicago Press, Chicago, IL.
* [[C.C. Chang|Chang, C.C.]], and [[H.J. Keisler|Keisler, H.J.]], ''Model Theory'', North-Holland, Amsterdam, Netherlands, 1973.
* [[Noam Chomsky|Chomsky, Noam]] (1995), ''The Minimalist Program'', MIT Press, Cambridge, Massachusetts.
* [[Alonzo Church|Church, Alonzo]] (1962a), "Name Relation, or Meaning Relation", p. 204 in Dagobert D. Runes (ed.), ''Dictionary of Philosophy'', Littlefield, Adams, and Company, Totowa, NJ.
* Church, Alonzo (1962b), "Truth, Semantical", p. 322 in Dagobert D. Runes (ed.), ''Dictionary of Philosophy'', Littlefield, Adams, and Company, Totowa, NJ.
* Clifford, W.K. (1877), "The Ethics of Belief and Other Essays". (Prometheus Books, 1999), [http://www.infidels.org/library/historical/w_k_clifford/ethics_of_belief.html infidels.org] {{Webarchive|url=https://web.archive.org/web/20091203020835/http://www.infidels.org/library/historical/w_k_clifford/ethics_of_belief.html |date=2009-12-03 }}
* [[John Dewey|Dewey, John]] (1900–1901), ''Lectures on Ethics 1900–1901'', Donald F. Koch (ed.), Southern Illinois University Press, Carbondale and Edwardsville, IL.
* Dewey, John (1932), ''Theory of the Moral Life'', Part 2 of John Dewey and [[James H. Tufts]], ''Ethics'', Henry Holt and Company, New York, 1908. 2nd edition, Holt, Rinehart, and Winston, 1932. Reprinted, Arnold Isenberg (ed.), Victor Kestenbaum (pref.), Irvingtion Publishers, New York, 1980.
* Dewey, John (1938), ''Logic: The Theory of Inquiry'' (1938), Holt and Company, New York. Reprinted, ''John Dewey, The Later Works, 1925–1953, Volume 12: 1938'', [[Jo Ann Boydston]] (ed.), Southern Illinois University Press, Carbondale and Edwardsville, IL, 1986.
* Field, Hartry (2001), ''Truth and the Absence of Fact'', Oxford University Press, Oxford.
* [[Michel Foucault|Foucault, Michel]] (1997), ''Essential Works of Foucault, 1954–1984, Volume 1, Ethics: Subjectivity and Truth'', Paul Rabinow (ed.), Robert Hurley et al. (trans.), The New Press, New York.
* Garfield, Jay L., and Kiteley, Murray (1991), ''Meaning and Truth: The Essential Readings in Modern Semantics'', Paragon House, New York.
* Gupta, Anil (2001), "Truth", in Lou Goble (ed.), ''The Blackwell Guide to Philosophical Logic'', Blackwell Publishers, Oxford.
* Gupta, Anil and [[Nuel Belnap|Belnap, Nuel]]. (1993). ''The Revision Theory of Truth''. MIT Press.
* [[Susan Haack|Haack, Susan]] (1993), ''Evidence and Inquiry: Towards Reconstruction in Epistemology'', Blackwell Publishers, Oxford.
* [[Jürgen Habermas|Habermas, Jürgen]] (1976), "What Is Universal Pragmatics?", 1st published, "Was heißt Universalpragmatik?", ''Sprachpragmatik und Philosophie'', [[Karl-Otto Apel]] (ed.), Suhrkamp Verlag, Frankfurt am Main. Reprinted, pp. 1–68 in Jürgen Habermas, ''Communication and the Evolution of Society'', Thomas McCarthy (trans.), Beacon Press, Boston, 1979.
* Habermas, Jürgen (1990), ''Moral Consciousness and Communicative Action'', Christian Lenhardt and Shierry Weber Nicholsen (trans.), Thomas McCarthy (intro.), MIT Press, Cambridge, Massachusetts.
* Habermas, Jürgen (2003), ''Truth and Justification'', Barbara Fultner (trans.), MIT Press, Cambridge, Massachusetts.
* [[Georg Hegel|Hegel, Georg]], (1977), ''[[The Phenomenology of Spirit]]'', Oxford University Press, Oxford, {{ISBN|978-0-19-824597-1}}.
* Horwich, Paul, (1988), ''Truth'', 2nd edition, Oxford University Press, Oxford.
* [[William James|James, William]] (1904), ''A World of Pure Experience''.
* James, William (1907), ''Pragmatism, A New Name for Some Old Ways of Thinking, Popular Lectures on Philosophy'', Longmans, Green, and Company, New York.
* James, William (1909), ''The Meaning of Truth, A Sequel to 'Pragmatism'', Longmans, Green, and Company, New York.
* James, William (1912), ''Essays in Radical Empiricism''. Cf. Chapt. 3, "The Thing and its Relations", pp. 92–122.
* James, William (2014), ''William James on Habit, Will, Truth, and the Meaning of Life''. James Sloan Allen (ed.), Frederic C. Beil, Publisher, Savannah, GA.
* [[Immanuel Kant|Kant, Immanuel]] (1800), ''Introduction to Logic''. Reprinted, [[Thomas Kingsmill Abbott]] (trans.), [[Dennis Sweet]] (intro.), Barnes and Noble, New York, 2005.
* [[Richard Kirkham|Kirkham, Richard L.]] (1992), ''[[Theories of Truth: A Critical Introduction]]'', MIT Press, Cambridge, Massachusetts.
* [[William Kneale|Kneale, W.]], and [[Martha Kneale|Kneale, M.]] (1962), ''The Development of Logic'', Oxford University Press, London, 1962. Reprinted with corrections, 1975.
* [[Hans Kreitler|Kreitler, Hans]], and [[Shulamith Kreitler|Kreitler, Shulamith]] (1972), ''Psychology of the Arts'', Duke University Press, Durham, NC.
* Le Morvan, Pierre (2004), "Ramsey on Truth and Truth on Ramsey", ''British Journal for the History of Philosophy'', 12 (4) 2004, 705–18, [http://www.tcnj.edu/~lemorvan/ramsey_web.pdf PDF] {{Webarchive|url=https://web.archive.org/web/20170829235557/http://www.tcnj.edu/~lemorvan/ramsey_web.pdf |date=2017-08-29 }}.
* [[Charles Sanders Peirce bibliography|Peirce, C.S., Bibliography]].
* [[Charles Sanders Peirce|Peirce, C.S.]], ''Collected Papers of Charles Sanders Peirce'', vols. 1–6, [[Charles Hartshorne]] and [[Paul Weiss (philosopher)|Paul Weiss]] (eds.), vols. 7–8, [[Arthur W. Burks]] (ed.), Harvard University Press, Cambridge, Massachusetts, 1931–1935, 1958. Cited as CP vol.para.
* Peirce, C.S. (1877), "The Fixation of Belief", ''Popular Science Monthly'' 12 (1877), 1–15. Reprinted (CP 5.358–387), (CE 3, 242–257), (EP 1, 109–123). [http://www.peirce.org/writings/p107.html Eprint] {{Webarchive|url=https://web.archive.org/web/20201211082624/http://www.peirce.org/writings/p107.html |date=2020-12-11 }}.
* Peirce, C.S. (1901), "Truth and Falsity and Error" (in part), pp. 718–20 in J.M. Baldwin (ed.), ''Dictionary of Philosophy and Psychology'', vol. 2. Reprinted, CP 5.565–573.
* [[Michael Polanyi|Polanyi, Michael]] (1966), ''The Tacit Dimension'', Doubleday and Company, Garden City, NY.
* [[W.V. Quine|Quine, W.V.]] (1956), "Quantifiers and Propositional Attitudes", ''Journal of Philosophy'' 53 (1956). Reprinted, pp. 185–96 in Quine (1976), ''Ways of Paradox''.
* Quine, W.V. (1976), ''The Ways of Paradox, and Other Essays'', 1st edition, 1966. Revised and enlarged edition, Harvard University Press, Cambridge, Massachusetts, 1976.
* Quine, W.V. (1980 a), ''From a Logical Point of View, Logico-Philosophical Essays'', 2nd edition, Harvard University Press, Cambridge, Massachusetts.
* Quine, W.V. (1980 b), "Reference and Modality", pp. 139–59 in Quine (1980 a), ''From a Logical Point of View''.
* [[John Rajchman|Rajchman, John]], and [[Cornel West|West, Cornel]] (ed., 1985), ''[[Post-Analytic Philosophy]]'', Columbia University Press, New York.
* [[Frank Plumpton Ramsey|Ramsey, F.P.]] (1927), "Facts and Propositions", ''Aristotelian Society Supplementary Volume 7'', 153–70. Reprinted, pp. 34–51 in F.P. Ramsey, ''Philosophical Papers'', David Hugh Mellor (ed.), Cambridge University Press, Cambridge, 1990.
* Ramsey, F.P. (1990), ''Philosophical Papers'', David Hugh Mellor (ed.), Cambridge University Press, Cambridge.
* [[John Rawls|Rawls, John]] (2000), ''Lectures on the History of Moral Philosophy'', Barbara Herman (ed.), Harvard University Press, Cambridge, Massachusetts.
* [[Richard Rorty|Rorty, R.]] (1979), ''Philosophy and the Mirror of Nature'', Princeton University Press, Princeton, NJ.
* [[Bertrand Russell|Russell, Bertrand]] (1912), ''The Problems of Philosophy'', 1st published 1912. Reprinted, Galaxy Book, Oxford University Press, New York, 1959. Reprinted, Prometheus Books, Buffalo, NY, 1988.
* Russell, Bertrand (1918), "The Philosophy of Logical Atomism", ''The Monist'', 1918. Reprinted, pp. 177–281 in ''Logic and Knowledge: Essays 1901–1950'', [[Robert Charles Marsh]] (ed.), Unwin Hyman, London, 1956. Reprinted, pp. 35–155 in ''The Philosophy of Logical Atomism'', [[David Pears]] (ed.), Open Court, La Salle, IL, 1985.
* Russell, Bertrand (1956), ''Logic and Knowledge: Essays 1901–1950'', [[Robert Charles Marsh]] (ed.), Unwin Hyman, London, 1956. Reprinted, Routledge, London, 1992.
* Russell, Bertrand (1985), ''The Philosophy of Logical Atomism'', [[David Pears]] (ed.), Open Court, La Salle, IL.
* [[Arthur Schopenhauer|Schopenhauer, Arthur]], (1974), ''[[On the Fourfold Root of the Principle of Sufficient Reason]]'', Open Court, La Salle, IL, {{ISBN|978-0-87548-187-6}}.
* [[Ninian Smart|Smart, Ninian]] (1969), ''The Religious Experience of Mankind'', Charles Scribner's Sons, New York.
* [[Alfred Tarski|Tarski, A.]], ''Logic, Semantics, Metamathematics: Papers from 1923 to 1938'', J.H. Woodger (trans.), Oxford University Press, Oxford, 1956. 2nd edition, John Corcoran (ed.), Hackett Publishing, Indianapolis, IN, 1983.
* [[Anthony F.C. Wallace|Wallace, Anthony F.C.]] (1966), ''Religion: An Anthropological View'', Random House, New York.
{{refend}}

===Reference works===
{{refbegin|20em}}
* [[Robert Audi|Audi, Robert]] (ed., 1999), ''The Cambridge Dictionary of Philosophy'', Cambridge University Press, Cambridge, 1995. 2nd edition, 1999. Cited as CDP.
* [[Simon Blackburn|Blackburn, Simon]] (1996), ''The Oxford Dictionary of Philosophy'', Oxford University Press, Oxford, 1994. Paperback edition with new Chronology, 1996. Cited as ODP.
* [[Dagobert D. Runes|Runes, Dagobert D.]] (ed.), ''Dictionary of Philosophy'', Littlefield, Adams, and Company, Totowa, NJ, 1962.
* ''Webster's New International Dictionary of the English Language, Second Edition, Unabridged'' (1950), W.A. Neilson, T.A. Knott, P.W. Carhart (eds.), G. & C. Merriam Company, Springfield, MA. Cited as MWU.
* ''Webster's Ninth New Collegiate Dictionary'' (1983), Frederick C. Mish (ed.), Merriam–Webster Inc., Springfield, MA. Cited as MWC.
{{refend}}

==External links==
{{wikiquote}}
{{Wiktionary|truth}}
{{Commons category|Truth}}
* [https://web.archive.org/web/20150626133902/http://www.galilean-library.org/site/index.php/page/index.html/_/essays/introducingphilosophy/10-truth-r26 An Introduction to Truth] by Paul Newall, aimed at beginners.
* [[Internet Encyclopedia of Philosophy]]:
** [http://www.iep.utm.edu/truth "Truth"]
** [http://www.iep.utm.edu/plur-tru "Pluralist Theories of Truth"]
** [http://www.iep.utm.edu/truth-ma"Truthmaker Theory"]
** [http://www.iep.utm.edu/truthpro"Prosentential Theory of Truth"]
* [[Stanford Encyclopedia of Philosophy]]:
** [http://plato.stanford.edu/entries/truth/ Truth]
** [http://plato.stanford.edu/entries/truth-coherence/ Coherence theory of truth]
** [http://plato.stanford.edu/entries/truth-correspondence/ Correspondence theory of truth]
** [http://plato.stanford.edu/entries/truth-deflationary/ Deflationary theory of truth]
** [http://plato.stanford.edu/entries/truth-identity/ Identity theory of truth]
** [http://plato.stanford.edu/entries/truth-revision/ Revision theory of truth]
** [http://plato.stanford.edu/entries/tarski-truth/ Tarski's definition of truth]
** [http://plato.stanford.edu/entries/truth-axiomatic/ Axiomatic theories of truth]
* [https://web.archive.org/web/20150626101634/http://www.ontology.co/heidegger-aletheia.htm Heidegger on Truth (Aletheia) as Unconcealment]
* [https://web.archive.org/web/20150609001038/http://www.ontology.co/aletheia.htm History of Truth: The Greek "Aletheia"]
* [http://www.ontology.co/veritas.htm History of Truth: The Latin "Veritas"]

{{Theories of Truth|state=expanded}}
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[[Category:Truth| ]]
[[Category:Concepts in epistemology]]
[[Category:Concepts in logic]]
[[Category:Metaphysical properties]]
[[Category:Ethical principles]]
[[Category:Meaning (philosophy of language)]]
[[Category:Ontology]]
[[Category:Mathematical logic]]
[[Category:Philosophical logic]]
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Truth

2024-10-09T22:25:29Z

160.72.80.178: /* Modern philosophy */''Included a paragraph for Colin Murray Turbayne as suggested on the Talk page by User:106.72.81.86"~~~~NHPL

{{Short description|Being in accord with fact or reality}}
{{redirect|The truth|other uses of "The truth"|The Truth (disambiguation)|other uses of "Truth"|Truth (disambiguation)}}

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{{Epistemology sidebar}}'''Truth''' or '''verity''' is the [[Property (philosophy)|property]] of being in accord with [[fact]] or [[reality]].<ref name = Merriam-Webster-def>Merriam-Webster's Online Dictionary, [http://m-w.com/dictionary/truth truth] {{Webarchive|url=https://web.archive.org/web/20091229155658/http://m-w.com/dictionary/truth |date=2009-12-29 }}, 2005</ref> In everyday language, it is typically ascribed to things that aim to represent reality or otherwise correspond to it, such as [[belief]]s, [[proposition]]s, and [[declarative sentence]]s.<ref name="SEP Truth">{{cite web |title=Truth |url=https://plato.stanford.edu/entries/truth/ |website=Stanford Encyclopedia of Philosophy |access-date=29 June 2020 |archive-date=20 January 2022 |archive-url=https://web.archive.org/web/20220120210351/https://plato.stanford.edu/entries/truth/ |url-status=live }}</ref>

Truth is usually held to be the opposite of [[false statement]]. The [[concept]] of truth is discussed and debated in various contexts, including [[philosophy]], [[art]], [[theology]], [[law]], and [[science]]. Most human activities depend upon the concept, where its nature as a concept is assumed rather than being a subject of discussion, including [[journalism]] and everyday life. Some philosophers view the concept of truth as basic, and unable to be explained in any terms that are more easily understood than the concept of truth itself.<ref name="SEP Truth"/> Most commonly, truth is viewed as the correspondence of [[language]] or [[thought]] to a mind-independent world. This is called the [[correspondence theory of truth]].

Various theories and views of truth continue to be debated among scholars, philosophers, and theologians.<ref name="SEP Truth"/><ref name=PUP32014>{{cite book|author1=Alexis G. Burgess and John P. Burgess|title=Truth|year=2011|publisher=Princeton University Press|isbn=978-0-691-14401-6|edition=1st|url=http://press.princeton.edu/titles/9460.html|access-date=October 4, 2014|format=hardcover|quote=a concise introduction to current philosophical debates about truth|archive-date=October 6, 2014|archive-url=https://web.archive.org/web/20141006131358/http://press.princeton.edu/titles/9460.html|url-status=live}}</ref> There are many different questions about the nature of truth which are still the subject of contemporary debates. These include the question of defining truth; whether it is even possible to give an informative definition of truth; identifying things as [[truth-bearer]]s capable of being true or false; if truth and falsehood are [[Principle of bivalence|bivalent]], or if there are other truth values; identifying the [[criteria of truth]] that allow us to identify it and to distinguish it from falsehood; the role that truth plays in constituting [[knowledge]]; and, if truth is always [[Universality (philosophy)|absolute]] or if it can be [[knowledge relativity|relative]] to one's perspective.

==Definition and etymology==
{{Further|Veritas|Aletheia|Tryggvi|category=|Page 4=Satya|selfref=}}
{{anchor|treowe}}
The English word ''[[:wikt:truth|truth]]'' is derived from [[Old English]] {{lang|ang|tríewþ, tréowþ, trýwþ}}, [[Middle English]] {{lang|enm|trewþe}}, cognate to [[Old High German]] {{lang|goh|triuwida}}, [[Old Norse]] {{lang|non|tryggð}}. Like ''troth'', it is a ''[[:wikt:-th|-th]]'' nominalisation of the adjective ''true'' (Old English {{lang|ang|tréowe}}).

The English word ''[[:wikt:true|true]]'' is from Old English ([[West Sexaon dialect (Old English)|West Saxon]]) {{lang|ang|(ge)tríewe, [[:wikt:treowe|tréowe]]}}, cognate to [[Old Saxon]] {{lang|osx|(gi)trûui}}, [[Old High German]] {{lang|goh|(ga)triuwu}} ([[Modern German]] {{lang|de|treu}} "faithful"), [[Old Norse]] {{lang|non|tryggr}}, [[Gothic language|Gothic]] {{lang|got|triggws}},<ref>see [[Holtzmann's law]] for the ''-ww-'' : ''-gg-'' alternation.</ref> all from a [[Proto-Germanic]] ''*trewwj-'' "having [[good faith]]", perhaps ultimately from PIE *dru- "tree", on the notion of "steadfast as an oak" (e.g., Sanskrit {{lang|sa-latn|[[:wikt:दारु#Sanskrit|dā́ru]]}} "(piece of) wood").<ref name="Truth from Online Etymology">{{cite web|last=Etymology|first=Online|title=Online Etymology|url=http://www.etymonline.com/|access-date=2013-11-27|archive-date=2007-07-13|archive-url=https://web.archive.org/web/20070713125946/http://www.etymonline.com/|url-status=live}}</ref> Old Norse ''{{lang|is|trú}}'', "faith, word of honour; religious faith, belief"<ref name=":0">''[http://www.northvegr.org/zoega/h442.php A Concise Dictionary of Old Icelandic] {{Webarchive|url=https://web.archive.org/web/20070930210807/http://www.northvegr.org/zoega/h442.php |date=2007-09-30 }}'', Geir T. Zoëga (1910), Northvegr.org</ref> (archaic English ''[[:wikt:troth|troth]]'' "loyalty, [[honesty]], good faith", compare ''{{lang|is|[[wikt:Ásatrú|Ásatrú]]}}'').

Thus, "truth" involves both the quality of "faithfulness, fidelity, loyalty, sincerity, veracity",<ref>[[OED]] on ''true'' has "Steadfast in adherence to a commander or friend, to a principle or cause, to one's promises, faith, etc.; firm in allegiance; faithful, loyal, constant, trusty; honest, honourable, upright, virtuous, trustworthy; free from deceit, sincere, truthful" besides "Conformity with fact; agreement with reality; accuracy, correctness, verity; Consistent with fact; agreeing with the reality; representing the thing as it is; real, genuine; rightly answering to the description; properly so called; not counterfeit, spurious, or imaginary."</ref> and that of "agreement with [[fact]] or [[reality]]", in Anglo-Saxon expressed by ''[[:wikt:sōþ|sōþ]]'' (Modern English ''[[:wikt:sooth|sooth]]'').

All Germanic languages besides English have introduced a terminological distinction between truth "fidelity" and truth "factuality". To express "factuality", [[North Germanic languages|North Germanic]] opted for nouns derived from {{lang|gmq|sanna}} "to assert, affirm", while continental [[West Germanic languages|West Germanic]] (German and Dutch) opted for continuations of {{lang|gmw|wâra}} "faith, trust, pact" (cognate to Slavic ''věra'' "(religious) faith", but influenced by Latin {{lang|la|[[veritas|verus]]}}). [[Romance language]]s use terms following the Latin {{lang|la|[[veritas]]}}, while the Greek {{lang|el-latn|[[aletheia]]}}, Russian {{lang|ru-latn|[[:wikt:pravda|pravda]]}}, South Slavic ''istina'' and Sanskrit {{lang|sa-latn|[[Sat (Sanskrit)|sat]]}} (related to English ''sooth'' and North Germanic {{lang|gmq|sanna}}) have separate etymological origins.

In some modern contexts, the word "truth" is used to refer to fidelity to an original or standard. It can also be used in the context of being "true to oneself" in the sense of acting with [[authenticity (philosophy)|authenticity]].<ref name = Merriam-Webster-def/>

==Major theories==

[[File:Statue of Truth.jpg|thumb|right|[[Walter Seymour Allward]]'s ''Veritas'' (Truth) outside [[Supreme Court of Canada]], [[Ottawa, Ontario]] [[Canada]]]]

The question of what is a proper basis for deciding how words, symbols, ideas and beliefs may properly be considered true, whether by a single person or an entire society, is dealt with by the five most prevalent substantive '''theories of truth''' listed below. Each presents perspectives that are widely shared by published scholars.<ref name="EPT">[[Encyclopedia of Philosophy]], Supp., "Truth", auth: Michael Williams, pp. 572–73 (Macmillan, 1996)</ref><ref>Blackburn, Simon, and Simmons, Keith (eds., 1999), ''Truth'', Oxford University Press, Oxford. Includes papers by James, Ramsey, Russell, Tarski, and more recent work.</ref><ref name=":1">{{cite book |editor1-last=Hale |editor1-first=Bob |editor2-last=Wright |editor2-first=Crispin |year=1999 |chapter=A Companion to the Philosophy of Language |chapter-url= |location= |publisher= |pages=309–30 |doi=10.1111/b.9780631213260.1999.00015.x |doi-broken-date=2024-08-24 |isbn=978-0-631-21326-0 }}</ref>

Theories other than the most prevalent substantive theories are also discussed. According to a survey of professional philosophers and others on their philosophical views which was carried out in November 2009 (taken by 3226 respondents, including 1803 philosophy faculty members and/or PhDs and 829 philosophy graduate students) 45% of respondents accept or lean toward correspondence theories, 21% accept or lean toward deflationary theories and 14% [[Epistemic theories of truth|epistemic theories]].<ref>{{cite web |url=http://philpapers.org/surveys/results.pl?affil=All+respondents&areas0=0&areas_max=1&grain=medium |title=The PhilPapers Surveys – Preliminary Survey results |website=The PhilPapers Surveys |publisher=Philpapers.org |access-date=2012-05-27 |archive-date=2012-03-20 |archive-url=https://web.archive.org/web/20120320074244/http://philpapers.org/surveys/results.pl?affil=All+respondents&areas0=0&areas_max=1&grain=medium |url-status=live }}</ref>

===Substantive===
====Correspondence====
{{Main|Correspondence theory of truth}}
Correspondence theories emphasize that true beliefs and true statements correspond to the actual state of affairs.<ref name=":2">[[Encyclopedia of Philosophy]], Vol.2, "Correspondence Theory of Truth", auth.: [[Arthur N. Prior]], p. 223 (Macmillan, 1969). Prior uses [[Bertrand Russell]]'s wording in defining correspondence theory. According to Prior, Russell was substantially responsible for helping to make correspondence theory widely known under this name.</ref> This type of theory stresses a relationship between thoughts or statements on one hand, and things or objects on the other. It is a traditional model tracing its origins to [[ancient Greece|ancient Greek]] philosophers such as [[Socrates]], [[Plato]], and [[Aristotle]].<ref>[[Encyclopedia of Philosophy]], Vol.2, "Correspondence Theory of Truth", auth.: Arthur N. Prior, pp. 223–24 (Macmillan, 1969).</ref> This class of theories holds that the truth or the falsity of a representation is determined in principle entirely by how it relates to "things" according to whether it accurately describes those "things". A classic example of correspondence theory is the statement by the thirteenth century philosopher and theologian [[Thomas Aquinas]]: "''[[Veritas est adaequatio rei et intellectus]]''" ("Truth is the adequation of things and [[intellect]]"), which Aquinas attributed to the ninth century [[Neoplatonist]] [[Isaac Israeli ben Solomon|Isaac Israeli]].<ref name=":3">[[Encyclopedia of Philosophy]], Vol. 2, "Correspondence Theory of Truth", auth.: Arthur N. Prior, Macmillan, 1969, p. 224.</ref><ref>[http://plato.stanford.edu/entries/truth-correspondence "Correspondence Theory of Truth", in Stanford Encyclopedia of Philosophy] {{Webarchive|url=https://web.archive.org/web/20191031140950/https://plato.stanford.edu/entries/truth-correspondence/ |date=2019-10-31 }}.</ref><ref name=":4">Thomas Aquinas, ''[[Summa Theologiae]]'', I. Q.16, A.2 arg. 2.</ref> Aquinas also restated the theory as: "A judgment is said to be true when it conforms to the external reality".<ref name=":5">[http://plato.stanford.edu/entries/truth-correspondence "Correspondence Theory of Truth", in Stanford Encyclopedia of Philosophy] {{Webarchive|url=https://web.archive.org/web/20191031140950/https://plato.stanford.edu/entries/truth-correspondence/ |date=2019-10-31 }} (citing ''De Veritate'' Q.1, A.1–3 and ''[[Summa Theologiae]]'', I. Q.16).</ref>

Correspondence theory centres heavily around the assumption that truth is a matter of accurately copying what is known as "[[objective reality]]" and then representing it in thoughts, words, and other symbols.<ref>''See, e.g.,'' Bradley, F.H., "On Truth and Copying", in Blackburn, ''et al.'' (eds., 1999),''Truth'', 31–45.</ref> Many modern theorists have stated that this ideal cannot be achieved without analysing additional factors.<ref name=EPT/><ref name=":6">[[Encyclopedia of Philosophy]], Vol.2, "Correspondence Theory of Truth", auth: Arthur N. Prior, pp. 223 ''ff''. Macmillan, 1969. See especially, section on "Moore's Correspondence Theory", 225–26, "Russell's Correspondence Theory", 226–27, "Remsey and Later Wittgenstein", 228–29, "Tarski's Semantic Theory", 230–31.</ref> For example, language plays a role in that all languages have words to represent concepts that are virtually undefined in other languages. The [[German language|German]] word ''[[Zeitgeist]]'' is one such example: one who speaks or understands the language may "know" what it means, but any translation of the word apparently fails to accurately capture its full meaning (this is a problem with many abstract words, especially those derived in [[agglutinative languages]]). Thus, some words add an additional parameter to the construction of an accurate [[truth predicate]]. Among the philosophers who grappled with this problem is [[Alfred Tarski]], whose [[semantic theory of truth|semantic theory]] is summarized further on.<ref>[[Encyclopedia of Philosophy]], Vol.2, "Correspondence Theory of Truth", auth: Arthur N. Prior, pp. 223 ''ff''. Macmillan, 1969. See the section on "Tarski's Semantic Theory", 230–31.</ref>

Proponents of several of the theories below have gone further to assert that there are yet other issues necessary to the analysis, such as interpersonal power struggles, community interactions, personal biases, and other factors involved in deciding what is seen as truth.

====Coherence====
{{Main|Coherence theory of truth}}

For coherence theories in general, truth requires a proper fit of elements within a whole system. Very often, coherence is taken to imply something more than simple logical consistency; often there is a demand that the propositions in a coherent system lend mutual inferential support to each other. So, for example, the completeness and comprehensiveness of the underlying set of concepts is a critical factor in judging the validity and usefulness of a coherent system.<ref>[[Immanuel Kant]], for instance, assembled a controversial but quite coherent system in the early 19th century, whose validity and usefulness continues to be debated even today. Similarly, the systems of [[Gottfried Wilhelm Leibniz|Leibniz]] and [[Spinoza]] are characteristic systems that are internally coherent but controversial in terms of their utility and validity.</ref> A pervasive tenet of coherence theories is the idea that truth is primarily a property of whole systems of propositions, and can be ascribed to individual propositions only according to their coherence with the whole. Among the assortment of perspectives commonly regarded as coherence theory, theorists differ on the question of whether coherence entails many possible true systems of thought or only a single absolute system.

Some variants of coherence theory are claimed to describe the essential and intrinsic properties of [[formal system]]s in logic and mathematics.<ref>[[Encyclopedia of Philosophy]], Vol.2, "Coherence Theory of Truth", auth: [[Alan R. White]], pp. 130–31 (Macmillan, 1969)</ref> Formal reasoners are content to contemplate [[independence (mathematical logic)|axiomatically independent]] and sometimes mutually contradictory systems side by side, for example, the various [[noneuclidean geometry|alternative geometries]]. On the whole, coherence theories have been rejected for lacking justification in their application to other areas of truth, especially with respect to assertions about the [[Natural environment|natural world]], [[empirical]] data in general, assertions about practical matters of psychology and society, especially when used without support from the other major theories of truth.<ref>[[Encyclopedia of Philosophy]], Vol.2, "Coherence Theory of Truth", auth: Alan R. White, pp. 131–33, ''see'' esp., section on "Epistemological assumptions" (Macmillan, 1969)</ref>

Coherence theories distinguish the thought of [[rationalism|rationalist]] philosophers, particularly of [[Baruch Spinoza]], [[Gottfried Wilhelm Leibniz]], and [[Georg Wilhelm Friedrich Hegel]], along with the British philosopher [[F. H. Bradley]].<ref>[[Encyclopedia of Philosophy]], Vol.2, "Coherence Theory of Truth", auth: Alan R. White, p. 130</ref> They have found a resurgence also among several proponents of [[logical positivism]], notably [[Otto Neurath]] and [[Carl Hempel]].

====Pragmatic====
{{Main|Pragmatic theory of truth}}

The three most influential forms of the ''pragmatic theory of truth'' were introduced around the turn of the 20th century by [[Charles Sanders Peirce]], [[William James]], and [[John Dewey]]. Although there are wide differences in viewpoint among these and other proponents of pragmatic theory, they hold in common that truth is verified and confirmed by the results of putting one's concepts into practice.<ref>[[Encyclopedia of Philosophy]], Vol. 5, "Pragmatic Theory of Truth", 427 (Macmillan, 1969).</ref>

Peirce defines it: "Truth is that concordance of an abstract statement with the ideal limit towards which endless investigation would tend to bring scientific belief, which concordance the abstract statement may possess by virtue of the confession of its inaccuracy and one-sidedness, and this confession is an essential ingredient of truth."<ref name="Peirce Truth and Falsity">Peirce, C.S. (1901), "Truth and Falsity and Error" (in part), pp. 716–20 in [[James Mark Baldwin]], ed., ''Dictionary of Philosophy and Psychology'', v. 2. Peirce's section is entitled "''Logical''", beginning on p. 718, column 1, and ending on p. 720 with the initials "(C.S.P.)", see Google Books [https://archive.org/details/beginningthirdr00randgoog/page/n748  Eprint]. Reprinted, ''[[Charles Sanders Peirce bibliography#CP|Collected Papers]]'' v. 5, pp. 565–73.</ref> This statement stresses Peirce's view that ideas of approximation, incompleteness, and partiality, what he describes elsewhere as ''[[fallibilism]]'' and "reference to the future", are essential to a proper conception of truth. Although Peirce uses words like ''concordance'' and ''correspondence'' to describe one aspect of the pragmatic [[sign relation]], he is also quite explicit in saying that definitions of truth based on mere correspondence are no more than ''nominal'' definitions, which he accords a lower status than ''real'' definitions.

James' version of pragmatic theory, while complex, is often summarized by his statement that "the 'true' is only the expedient in our way of thinking, just as the 'right' is only the expedient in our way of behaving."<ref name=WJP>James, William, ''The Meaning of Truth, A Sequel to 'Pragmatism','' (1909).</ref> By this, James meant that truth is a ''quality'', the value of which is confirmed by its effectiveness when applying concepts to practice (thus, "pragmatic").

Dewey, less broadly than James but more broadly than Peirce, held that [[inquiry]], whether scientific, technical, sociological, philosophical, or cultural, is self-corrective over time ''if'' openly submitted for testing by a community of inquirers in order to clarify, justify, refine, and/or refute proposed truths.<ref>[[Encyclopedia of Philosophy]], Vol.2, "Dewey, John", auth [[Richard J. Bernstein]], p. 383 (Macmillan, 1969)</ref>

Though not widely known, a new variation of the pragmatic theory was defined and wielded successfully from the 20th century forward. Defined and named by [[William Ernest Hocking]], this variation is known as "negative pragmatism". Essentially, what works may or may not be true, but what fails cannot be true because the truth always works.<ref>Sahakian, W.S. & Sahakian, M.L., Ideas of the Great Philosophers, New York: Barnes & Noble, 1966, {{LCCN|66-23155}}</ref> Philosopher of science [[Richard Feynman]] also subscribed to it: "We never are definitely right, we can only be sure we are wrong."<ref name="FeynmanThe">Feynman, The Character of Physical Law, New York: Random House, 1994, 978-0-679-60127-2.</ref> This approach incorporates many of the ideas from Peirce, James, and Dewey. For Peirce, the idea of "endless investigation would tend to bring about scientific belief" fits negative pragmatism in that a negative pragmatist would never stop testing. As Feynman noted, an idea or theory "could never be proved right, because tomorrow's experiment might succeed in proving wrong what you thought was right."<ref name="FeynmanThe" /> Similarly, James and Dewey's ideas also ascribe truth to repeated testing which is "self-corrective" over time.

Pragmatism and negative pragmatism are also closely aligned with the [[coherence theory of truth]] in that any testing should not be isolated but rather incorporate knowledge from all human endeavors and experience. The universe is a whole and integrated system, and testing should acknowledge and account for its diversity. As Feynman said, "... if it disagrees with experiment, it is wrong."<ref>Feynman, ''The Character of Physical Law'', p. 150.</ref>

====Constructivist====
{{Main|Constructivist epistemology}}

[[Constructivist epistemology|Social constructivism]] holds that truth is constructed by social processes, is historically and culturally specific, and that it is in part shaped through the power struggles within a community. Constructivism views all of our knowledge as "constructed," because it does not reflect any external "transcendent" realities (as a pure correspondence theory might hold). Rather, perceptions of truth are viewed as contingent on convention, human perception, and social experience. It is believed by constructivists that representations of physical and biological reality, including [[Race (classification of human beings)|race]], [[Human sexuality|sexuality]], and [[gender]], are socially constructed.

[[Giambattista Vico]] was among the first to claim that history and culture were man-made. Vico's [[epistemology|epistemological]] orientation unfolds in one axiom: ''verum ipsum factum''—"truth itself is constructed". [[Hegel]] and [[Marx]] were among the other early proponents of the premise that truth is, or can be, socially constructed. Marx, like many critical theorists who followed, did not reject the existence of objective truth, but rather distinguished between true knowledge and knowledge that has been distorted through power or ideology. For Marx, scientific and true knowledge is "in accordance with the dialectical understanding of history" and ideological knowledge is "an epiphenomenal expression of the relation of material forces in a given economic arrangement".<ref>{{cite book |author1=May, Todd |author-link1=Todd May (philosopher) |title=Between Genealogy and Epistemology: Psychology, Politics, and Knowledge in the Thought of Michel Foucault |date=1993 |publisher=Pennsylvania State University Press |location=University Park |isbn=978-0271027821|oclc= 26553016}}</ref>{{page needed|date=March 2019}}

====Consensus====
{{Main|Consensus theory of truth}}

[[Consensus theory of truth|Consensus theory]] holds that truth is whatever is agreed upon, or in some versions, might come to be agreed upon, by some specified group. Such a group might include all human beings, or a [[subset]] thereof consisting of more than one person.

Among the current advocates of consensus theory as a useful accounting of the concept of "truth" is the philosopher [[Jürgen Habermas]].<ref>''See, e.g.'', Habermas, Jürgen, ''Knowledge and Human Interests'' (English translation, 1972).</ref> Habermas maintains that truth is what would be agreed upon in an [[ideal speech situation]].<ref>''See, e.g.'', Habermas, Jürgen, ''Knowledge and Human Interests'' (English translation, 1972), esp. Part III, pp. 187 ''ff''.</ref> Among the current strong critics of consensus theory is the philosopher [[Nicholas Rescher]].<ref>Rescher, Nicholas, ''Pluralism: Against the Demand for Consensus'' (1995).</ref>

===Minimalist===
====Deflationary====
{{Main|Deflationary theory of truth}}

Modern developments in the field of philosophy have resulted in the rise of a new thesis: that the term ''truth'' does not denote a real property of sentences or propositions. This thesis is in part a response to the common use of ''truth predicates'' (e.g., that some particular thing "...is true") which was particularly prevalent in philosophical discourse on truth in the first half of the 20th century. From this point of view, to assert that "'2 + 2 = 4' is true" is logically equivalent to asserting that "2 + 2 = 4", and the phrase "is true" is—philosophically, if not practically (see: "Michael" example, below)—completely dispensable in this and every other context. In common parlance, truth predicates are not commonly heard, and it would be interpreted as an unusual occurrence were someone to utilize a truth predicate in an everyday conversation when asserting that something is true. Newer perspectives that take this discrepancy into account, and work with sentence structures as actually employed in common discourse, can be broadly described:
* as ''deflationary'' theories of truth, since they attempt to deflate the presumed importance of the words "true" or ''truth'',
* as ''disquotational'' theories, to draw attention to the disappearance of the quotation marks in cases like the above example, or
* as ''minimalist'' theories of truth.<ref name=EPT/><ref>Blackburn, Simon, and Simmons, Keith (eds., 1999), ''Truth'' in the Introductory section of the book.</ref>

Whichever term is used, deflationary theories can be said to hold in common that "the predicate 'true' is an expressive convenience, not the name of a property requiring deep analysis."<ref name=EPT/> Once we have identified the truth predicate's formal features and utility, deflationists argue, we have said all there is to be said about truth. Among the theoretical concerns of these views is to explain away those special cases where it ''does'' appear that the concept of truth has peculiar and interesting properties. (See, e.g., [[Semantic paradox]]es, and below.)

The scope of deflationary principles is generally limited to representations that resemble sentences. They do not encompass a broader range of entities that are typically considered true or otherwise. In addition, some deflationists point out that the concept employed in "...is true" formulations does enable us to express things that might otherwise require infinitely long sentences; for example, one cannot express confidence in Michael's accuracy by asserting the endless sentence:
:''Michael says, 'snow is white' and snow is white, or he says 'roses are red' and roses are red or he says ... etc.''
This assertion can instead be succinctly expressed by saying: ''What Michael says is true''.<ref>[[Richard Kirkham]], [[Theories of Truth: A Critical Introduction]], MIT Press, 1992.</ref>

=====Redundancy and related=====
{{Main|Redundancy theory of truth}}

An early variety of deflationary theory is the [[redundancy theory of truth]], so-called because—in examples like those above, e.g. "snow is white [is true]"—the concept of "truth" is redundant and need not have been articulated; that is, it is merely a word that is traditionally used in conversation or writing, generally for emphasis, but not a word that actually equates to anything in reality. This theory is commonly attributed to [[Frank P. Ramsey]], who held that the use of words like ''fact'' and ''truth'' was nothing but a [[periphrasis|roundabout]] way of asserting a proposition, and that treating these words as separate problems in isolation from judgment was merely a "linguistic muddle".<ref name="EPT"/><ref>Ramsey, F.P. (1927), "Facts and Propositions", Aristotelian Society Supplementary Volume 7, 153–70. Reprinted, pp. 34–51 in F.P. Ramsey, Philosophical Papers, David Hugh Mellor (ed.), Cambridge University Press, Cambridge, 1990</ref><ref>Le Morvan, Pierre. (2004) "Ramsey on Truth and Truth on Ramsey", ''The British Journal for the History of Philosophy'' 12(4), pp. 705–18.</ref>

A variant of redundancy theory is the "disquotational" theory, which uses a modified form of the logician [[Alfred Tarski]]'s [[#Semantic theory of truth|schema]]: proponents observe that to say that "'P' is true" ''is'' to assert "P". A version of this theory was defended by [[C. J. F. Williams]] (in his book ''What is Truth?''). Yet another version of deflationism is the prosentential theory of truth, first developed by Dorothy Grover, Joseph Camp, and [[Nuel Belnap]] as an elaboration of Ramsey's claims. They argue that utterances such as "that's true", when said in response to (e.g.) "it's raining", are "[[prosentence]]s"—expressions that merely repeat the content of other expressions. In the same way that ''it'' means the same as ''my dog'' in the statement "my dog was hungry, so I fed it", ''that's true'' is supposed to mean the same as ''it's raining'' when the former is said in reply to the latter.

As noted above, proponents of these ideas do not necessarily follow Ramsey in asserting that truth is not a ''property;'' rather, they can be understood to say that, for instance, the assertion "P" ''may well'' involve a substantial truth—it is only the redundancy involved in statements such as "that's true" (i.e., a prosentence) which is to be minimized.<ref name=EPT/>

====Performative====
Attributed to philosopher [[P. F. Strawson]] is the performative theory of truth which holds that to say "'Snow is white' is true" is to perform the [[speech act]] of signaling one's agreement with the claim that snow is white (much like nodding one's head in agreement). The idea that some statements are more actions than communicative statements is not as odd as it may seem. For example, when a wedding couple says "I do" at the appropriate time in a wedding, they are performing the act of taking the other to be their lawful wedded spouse. They are not ''describing'' themselves as taking the other, but actually ''doing'' so (perhaps the most thorough analysis of such "illocutionary acts" is [[J. L. Austin]], most notably in "''[[How to Do Things With Words]]''"<ref>J. L. Austin, "How to Do Things With Words". Cambridge: Harvard University Press, 1975</ref>).

Strawson holds that a similar analysis is applicable to all speech acts, not just illocutionary ones: "To say a statement is true is not to make a statement about a statement, but rather to perform the act of agreeing with, accepting, or endorsing a statement. When one says 'It's true that it's raining,' one asserts no more than 'It's raining.' The function of [the statement] 'It's true that...' is to agree with, accept, or endorse the statement that 'it's raining.'"<ref>[[Encyclopedia of Philosophy]], Vol. 6: ''Performative Theory of Truth'', auth: Gertrude Ezorsky, p. 88 (Macmillan, 1969)</ref>

====Philosophical skepticism====
{{see also|Philosophical skepticism|Certainty}}

[[Philosophical skepticism]] is generally any [[doubt]] of one or more items of [[knowledge]] or [[belief]] which ascribe truth to their assertions and propositions.<ref>{{cite book |first=R. H. |last=Popkin |title=The History of Skepticism from Erasmus to Descartes (rev. ed. 1968); C. L. Stough, Greek Skepticism (1969); M. Burnyeat, ed., The Skeptical Tradition (1983); B. Stroud, The Significance of Philosophical Skepticism (1984) |url=http://encyclopedia2.thefreedictionary.com/Skeptikoi |work=Encyclopedia2.thefreedictionary.com |access-date=2018-06-04 |archive-date=2012-07-13 |archive-url=https://archive.today/20120713170158/http://encyclopedia2.thefreedictionary.com/Skeptikoi |url-status=live }}</ref><ref>"Philosophical views are typically classed as skeptical when they involve advancing some degree of doubt regarding claims that are elsewhere taken for granted." [http://www.utm.edu/research/iep/s/skepcont.htm utm.edu] {{Webarchive|url=https://web.archive.org/web/20090113210019/http://www.utm.edu/research/iep/s/skepcont.htm |date=2009-01-13 }}</ref> The primary target of philosophical skepticism is [[epistemology]], but it can be applied to any domain, such as the [[supernatural]], morality ([[moral skepticism]]), and [[religious skepticism|religion]] (skepticism about the existence of God).<ref>{{Cite book|title = The Oxford Handbook of Skepticism|url = https://books.google.com/books?id=Ozv0lftrUeEC|publisher = Oxford University Press, US|year = 2008|isbn = 978-0-19-518321-4|language = en|first = John|last = Greco|author-link=John Greco (philosopher)}}</ref>

Philosophical skepticism comes in various forms. [[Radical skepticism|Radical forms of skepticism]] deny that knowledge or rational belief is possible and urge us to [[epoche|suspend judgment]] regarding ascription of truth on many or all controversial matters. More moderate forms of skepticism claim only that nothing can be known with certainty, or that we can know little or nothing about the "big questions" in life, such as whether God exists or whether there is an afterlife. [[Religious skepticism]] is "doubt concerning basic religious principles (such as immortality, providence, and revelation)".<ref>{{Cite web|title = Definition of SKEPTICISM|url = http://www.merriam-webster.com/dictionary/skepticism|website = Merriam-Webster |access-date = 2016-02-05|archive-date = 2019-04-24|archive-url = https://web.archive.org/web/20190424142033/https://www.merriam-webster.com/dictionary/skepticism|url-status = live}}</ref> [[Scientific skepticism]] concerns testing beliefs for reliability, by subjecting them to [[wikt:systematic|systematic]] investigation using the [[scientific method]], to discover [[empirical evidence]] for them.

===Pluralist===
{{Main|Pluralist theories of truth}}
Several of the major theories of truth hold that there is a particular property the having of which makes a belief or proposition true. Pluralist theories of truth assert that there may be more than one property that makes propositions true: ethical propositions might be true by virtue of coherence. Propositions about the physical world might be true by corresponding to the objects and properties they are about.

Some of the pragmatic theories, such as those by [[Charles Sanders Peirce|Charles Peirce]] and [[William James]], included aspects of correspondence, coherence and constructivist theories.<ref name="Peirce Truth and Falsity"/><ref name=WJP/> [[Crispin Wright]] argued in his 1992 book ''Truth and Objectivity'' that any predicate which satisfied certain platitudes about truth qualified as a truth predicate. In some discourses, Wright argued, the role of the truth predicate might be played by the notion of superassertibility.<ref>Truth and Objectivity, Cambridge, Massachusetts: Harvard University Press, 1992.</ref> [[Michael Lynch (philosopher)|Michael Lynch]], in a 2009 book ''Truth as One and Many'', argued that we should see truth as a functional property capable of being multiply manifested in distinct properties like correspondence or coherence.<ref>Truth as One and Many (Oxford: Oxford University Press, 2009).</ref>

==Formal theories==
===Logic===
{{Main|Logical truth|Criteria of truth|Truth value}}

[[Logic]] is concerned with the patterns in [[reason]] that can help tell if a [[proposition]] is true or not. Logicians use [[formal language]]s to express the truths they are concerned with, and as such there is only truth under some [[interpretation (logic)|interpretation]] or truth within some [[logical system]].

A logical truth (also called an analytic truth or a necessary truth) is a statement that is true in all possible worlds<ref>[[Ludwig Wittgenstein]], ''[[Tractatus Logico-Philosophicus]]''.</ref> or under all possible interpretations, as contrasted to a ''[[fact]]'' (also called a ''[[Analytic-synthetic distinction|synthetic claim]]'' or a ''[[Necessary and sufficient condition|contingency]]''), which is only true in this [[World (philosophy)|world]] as it has historically unfolded. A proposition such as "If p and q, then p" is considered to be a logical truth because of the meaning of the [[symbol (formal)|symbols]] and [[well-formed formula|words]] in it and not because of any fact of any particular world. They are such that they could not be untrue.

[[Degree of truth|Degrees]] of [[truth values|truth]] in logic may be represented using two or more discrete values, as with [[principle of bivalence|bivalent logic]] (or [[Boolean logic|binary logic]]), [[three-valued logic]], and other forms of [[finite-valued logic]].<ref>{{cite book| last=Kretzmann| first=Norman| title=William of Sherwood's Treatise on Syncategorematic Words| chapter=IV, section<nowiki>=</nowiki>2. 'Infinitely Many' and 'Finitely Many'| publisher=University of Minnesota Press| year=1968| chapter-url=https://books.google.com/books?id=fW5rlSy-5D8C&pg=PA42| isbn=978-0-8166-5805-3}}</ref><ref>{{cite book| last=Smith| first=Nicholas J.J.| chapter=Article 2.6| title=Many-Valued Logics| publisher=Routledge| year=2010| chapter-url=https://www-personal.usyd.edu.au/~njjsmith/papers/smith-many-valued-logics.pdf| access-date=2018-05-25| archive-date=2018-04-08| archive-url=https://web.archive.org/web/20180408200831/http://www-personal.usyd.edu.au/~njjsmith/papers/smith-many-valued-logics.pdf| url-status=live}}</ref> Truth in logic can be represented using numbers comprising a [[continuous or discrete variable|continuous]] range, typically between 0 and 1, as with [[fuzzy logic]] and other forms of [[infinite-valued logic]].<ref>{{cite book| work=The Development of Modern Logic| last1=Mancosu| first1=Paolo| last2=Zach| first2=Richard| last3=Badesa| first3=Calixto| title=9. The Development of Mathematical Logic from Russell to Tarski 1900-1935| section=7.2 Many-valued logics| publisher=Oxford University Press| pages=418–20| year=2004| url=https://books.google.com/books?id=0jXavKsArnIC| isbn=978-0-19-972272-3}}</ref><ref>{{cite web| last=Garrido| first=Angel| title=A Brief History of Fuzzy Logic| publisher=Revista EduSoft| year=2012| url=https://www.edusoft.ro/brain/index.php/brain/article/viewFile/308/390| access-date=2018-05-25| archive-date=2018-05-17| archive-url=https://web.archive.org/web/20180517152622/https://www.edusoft.ro/brain/index.php/brain/article/viewFile/308/390| url-status=live}}, Editorial</ref> In general, the concept of representing truth using more than two values is known as [[many-valued logic]].<ref>{{cite book| last=Rescher| first=Nicholas| publisher=Humanities Press Synthese Library volume 17| year=1968| doi=10.1007/978-94-017-3546-9_6| title=Topics in Philosophical Logic|pages = 54–125|isbn = 978-90-481-8331-9| chapter=Many-Valued Logic}}</ref>

===Mathematics===
{{anchor|Truth_in_mathematics}}
{{Main|Model theory|Proof theory}}

There are two main approaches to truth in mathematics. They are the ''[[model theory|model theory of truth]]'' and the ''[[proof theory|proof theory of truth]]''.<ref>Penelope Maddy; ''Realism in Mathematics''; Series: Clarendon Paperbacks; Paperback: 216 pages; Publisher: Oxford University Press, US (1992); 978-0-19-824035-8.</ref>

Historically, with the nineteenth century development of [[Boolean algebra (logic)|Boolean algebra]], mathematical models of logic began to treat "truth", also represented as "T" or "1", as an arbitrary constant. "Falsity" is also an arbitrary constant, which can be represented as "F" or "0". In [[propositional logic]], these symbols can be manipulated according to a set of [[axioms]] and [[rules of inference]], often given in the form of [[truth table]]s.

In addition, from at least the time of [[Hilbert's program]] at the turn of the twentieth century to the proof of [[Gödel's incompleteness theorems]] and the development of the [[Church–Turing thesis]] in the early part of that century, true statements in mathematics were [[logical positivism|generally assumed]] to be those statements that are provable in a formal axiomatic system.<ref>Elliott Mendelson; ''Introduction to Mathematical Logic''; Series: Discrete Mathematics and Its Applications; Hardcover: 469 pages; Publisher: Chapman and Hall/CRC; 5 edition (August 11, 2009); 978-1-58488-876-5.</ref>

The works of [[Kurt Gödel]], [[Alan Turing]], and others shook this assumption, with the development of statements that are true but cannot be proven within the system.<ref>''See, e.g.,'' Chaitin, Gregory L., ''The Limits of Mathematics'' (1997) esp. 89 ''ff''.</ref> Two examples of the latter can be found in [[Hilbert's problems]]. Work on [[Hilbert's 10th problem]] led in the late twentieth century to the construction of specific [[Diophantine equations]] for which it is undecidable whether they have a solution,<ref>M. Davis. "Hilbert's Tenth Problem is Unsolvable." ''American Mathematical Monthly'' 80, pp. 233–69, 1973</ref> or even if they do, whether they have a finite or infinite number of solutions. More fundamentally, [[Hilbert's first problem]] was on the [[continuum hypothesis]].<ref>Yandell, Benjamin H.. ''The Honors Class. Hilbert's Problems and Their Solvers'' (2002).</ref> Gödel and [[Paul Cohen (mathematician)|Paul Cohen]] showed that this hypothesis cannot be proved or disproved using the standard [[axiom]]s of [[set theory]].<ref>Chaitin, Gregory L., ''The Limits of Mathematics'' (1997) 1–28, 89 ''ff''.</ref> In the view of some, then, it is equally reasonable to take either the continuum hypothesis or its negation as a new axiom.

Gödel thought that the ability to perceive the truth of a mathematical or logical proposition is a matter of [[logical intuition|intuition]], an ability he admitted could be ultimately beyond the scope of a formal theory of logic or mathematics<ref>{{cite web| last=Ravitch| first=Harold| title=On Gödel's Philosophy of Mathematics| year=1998| url=http://www.friesian.com/goedel/chap-2.htm| access-date=2018-05-25| archive-date=2018-02-28| archive-url=https://web.archive.org/web/20180228005628/http://friesian.com/goedel/chap-2.htm| url-status=live}}</ref><ref>{{cite web| last=Solomon| first=Martin| title=On Kurt Gödel's Philosophy of Mathematics| year=1998| url=http://calculemus.org/lect/07logika/godel-solomon.html| access-date=2018-05-25| archive-date=2016-03-04| archive-url=https://web.archive.org/web/20160304030146/http://www.calculemus.org/lect/07logika/godel-solomon.html| url-status=live}}</ref> and perhaps best considered in the realm of human [[comprehension (logic)|comprehension]] and communication. But he commented, "The more I think about language, the more it amazes me that people ever understand each other at all".<ref>{{cite book| last=Wang| first=Hao| title=A Logical Journey: From Gödel to Philosophy| publisher=The MIT Press| year=1997| url=https://books.google.com/books?isbn=0262261251}} (A discussion of Gödel's views on [[logical intuition]] is woven throughout the book; the quote appears on page 75.)</ref>

===Tarski's semantics===
{{main|Semantic theory of truth}}

The [[semantic theory of truth]] has as its general case for a given language:
:'P' is true if and only if P
where 'P' refers to the sentence (the sentence's name), and P is just the sentence itself.

[[Tarski's theory of truth]] (named after [[Alfred Tarski]]) was developed for formal languages, such as [[formal logic]]. Here he restricted it in this way: no language could contain its own truth predicate, that is, the expression ''is true'' could only apply to sentences in some other language. The latter he called an ''object language'', the language being talked about. (It may, in turn, have a truth predicate that can be applied to sentences in still another language.) The reason for his restriction was that languages that contain their own truth predicate will contain [[Liar paradox|paradoxical]] sentences such as, "This sentence is not true". As a result, Tarski held that the semantic theory could not be applied to any natural language, such as English, because they contain their own truth predicates. [[Donald Davidson (philosopher)|Donald Davidson]] used it as the foundation of his [[truth-conditional semantics]] and linked it to [[radical interpretation]] in a form of [[coherentism]].

[[Bertrand Russell]] is credited with noticing the existence of such paradoxes even in the best symbolic formations of mathematics in his day, in particular the paradox that came to be named after him, [[Russell's paradox]]. Russell and [[Alfred North Whitehead|Whitehead]] attempted to solve these problems in ''[[Principia Mathematica]]'' by putting statements into a hierarchy of [[type theory|types]], wherein a statement cannot refer to itself, but only to statements lower in the hierarchy. This in turn led to new orders of difficulty regarding the precise natures of types and the structures of conceptually possible [[type system]]s that have yet to be resolved to this day.

===Kripke's semantics===
{{Main|Semantic theory of truth}}
[[Kripke's theory of truth]] (named after [[Saul Kripke]]) contends that a natural language can in fact contain its own truth predicate without giving rise to contradiction. He showed how to construct one as follows:
* Beginning with a subset of sentences of a natural language that contains no occurrences of the expression "is true" (or "is false"). So, ''The barn is big'' is included in the subset, but not "''The barn is big'' is true", nor problematic sentences such as "''This sentence'' is false".
* Defining truth just for the sentences in that subset.
* Extending the definition of truth to include sentences that predicate truth or falsity of one of the original subset of sentences. So "''The barn is big'' is true" is now included, but not either "''This sentence'' is false" nor "<nowiki>'</nowiki>''The barn is big'' is true' is true".
* Defining truth for all sentences that predicate truth or falsity of a member of the second set. Imagine this process repeated infinitely, so that truth is defined for ''The barn is big''; then for "''The barn is big'' is true"; then for "<nowiki>'</nowiki>''The barn is big'' is true' is true", and so on.

Truth never gets defined for sentences like ''This sentence is false'', since it was not in the original subset and does not predicate truth of any sentence in the original or any subsequent set. In Kripke's terms, these are "ungrounded." Since these sentences are never assigned either truth or falsehood even if the process is carried out infinitely, Kripke's theory implies that some sentences are neither true nor false. This contradicts the [[principle of bivalence]]: every sentence must be either true or false. Since this principle is a key premise in deriving the [[liar paradox]], the paradox is dissolved.<ref>Kripke, Saul. "Outline of a Theory of Truth", Journal of Philosophy, 72 (1975), 690–716</ref>

The [[proof sketch for Gödel's first incompleteness theorem]] shows self-reference cannot be avoided naively{{clarify|date=November 2022|reason=
Is this paragraph implying that Kripke semantics attempt to "naively avoid self-reference"? I am pretty certain that Kripke was well aware of, and deeply understood both Godel's and Tarski's work relevant to these questions, given that he was a mathematical logician in the period several decades after Godel's and Tarski's foundational publications. So all things being equal, unless another commensurate expert is claiming that Kripke is doing this, it shouldn't be assumed that he is -- in which case a citation to the expert, and where their opinion is expressed, is needed.
}}{{citation needed|date=November 2022|reason=Which of Godel's publications is this referring to?
}}, since propositions about seemingly unrelated objects can have an informal self-referential meaning; in Gödel's work, these objects are integer numbers, and they have an informal meaning regarding propositions{{clarify|date=November 2022|reason=
Great, but what part of Kripke semantics relies on (something equivalent to) first-order Peano arithmetic, which as far as I understand is the context where the Goedel numbering method (which this paragraph is seemingly referencing) is relevant. And based on this informal discussion, it's unclear to me whether the author is conflating object language and metalanguage.
}}. In fact, this idea — manifested by the [[diagonal lemma]]—is the basis for [[Tarski's undefinability theorem|Tarski's theorem]] that truth cannot be consistently defined.{{clarify|date=November 2022|reason=
Again Saul Kripke is a mathematical logician, he was obviously aware of diagonal arguments (also relevant to Cantor's theorem, most generalized by Lawvere's theorem), so the basis for assuming that he proposed a system of formal semantics that doesn't make sense in light of a diagonal argument seems highly dubious. That might not be what this paragraph is claiming, but again I don't understand what it is claiming.
}}

It has thus been claimed<ref>Keith Simmons, ''Universality and the Liar: An Essay on Truth and the Diagonal Argument'', Cambridge University Press, Cambridge 1993</ref> that Kripke's system indeed leads to contradiction{{dubious|date=November 2022}}: while its truth predicate is only partial, it does give truth value (true/false) to propositions such as the one built in Tarski's proof,{{dubious|reason=Based on what I understand of Kripke semantics based on Goldblatt's book, this seems likely to be incorrect, because propositions can either not be given any truth values, or be given one truth value in one part of the poset (partially ordered set) and another truth value in another part of the poset. So this really sounds to me like a misinterpretation of both partial orders in general (which need not be total orders a.k.a. linear orders) as well as Kripke semantics in particular.
|date=November 2022}} and is therefore inconsistent. While there is still a debate on whether Tarski's proof can be implemented to every similar partial truth system,{{clarify|date=November 2022|reason=
What is a "partial truth system"? (I.e. the precise mathematical definition?) And in what metalanguage/metalogic are people trying to prove the consistency of these "partial truth systems" in? Also, no one has shown ZFC to be consistent - does that mean this paragraph is claiming that the foundations of mathematics are dubious? Maybe they are, but it's not clear to me either way what this is claiming. E.g. is it conflating "consistency" or "completeness" of a theory (expressed in a given logic) with "consistency" or "completeness" of a given logic?
}} none have been shown to be consistent by [[Consistency proof|acceptable methods]] used in [[mathematical logic]].{{citation needed|date=November 2022}}

[[Kripke semantics|Kripke's semantics]] are related to the use of [[topos|topoi]] and other concepts from [[category theory]] in the study of [[mathematical logic]].<ref>{{Cite book |last=Goldblatt |first=Robert |url=https://www.worldcat.org/oclc/9622076 |title=Topoi, the categorial analysis of logic |date=1983 |publisher=Sole distributors for the U.S.A. and Canada, Elsevier North-Holland |isbn=0-444-86711-2 |edition=revised |location=Amsterdam |oclc=9622076}}</ref> They provide a choice of formal semantics for [[intuitionistic logic]].

==Folk beliefs==
The [[truth predicate]] "''P'' is true" has great practical value in human language, allowing ''efficient'' endorsement or impeaching of claims made by others, to emphasize the truth or falsity of a statement, or to enable various indirect ([[Gricean]]) conversational implications.<ref>{{cite book|last1=Scharp|first1=Kevin|title=Replacing truth|date=2013|publisher=Oxford Univ. Press|location=Oxford|isbn=978-0-19-965385-0|edition=First|chapter=6: What is the Use?}}</ref> Individuals or societies will sometime punish "false" statements to deter falsehoods;<ref>{{cite web|title=truth {{!}} philosophy and logic|url=https://www.britannica.com/topic/truth-philosophy-and-logic|website=Encyclopedia Britannica|access-date=28 July 2017|language=en|quote=Truth is important. Believing what is not true is apt to spoil a person’s plans and may even cost him his life. Telling what is not true may result in legal and social penalties.|archive-date=5 June 2019|archive-url=https://web.archive.org/web/20190605223755/https://www.britannica.com/topic/truth-philosophy-and-logic|url-status=live}}</ref> the oldest surviving law text, the [[Code of Ur-Nammu]], lists penalties for false accusations of sorcery or adultery, as well as for committing [[perjury]] in court. Even four-year-old children can pass simple "[[Theory of mind#False-belief task|false belief]]" tests and successfully assess that another individual's belief diverges from reality in a specific way;<ref>Wellman, Henry M., David Cross, and Julanne Watson. "Meta‐analysis of theory‐of‐mind development: the truth about false belief." Child development 72.3 (2001): 655–84.</ref> by adulthood there are strong implicit intuitions about "truth" that form a "folk theory" of truth. These intuitions include:<ref>Lynch, Michael P. "Alethic functionalism and our folk theory of truth." Synthese 145.1 (2005): 29–43.</ref>
* Capture (''T''-in): If ''P'', then ''P'' is true
* Release (''T''-out): If ''P'' is true, then ''P''
* [[Law of noncontradiction|Noncontradiction]]: A statement cannot be both true and false
* Normativity: It is usually good to believe what is true
* False beliefs: The notion that believing a statement does not necessarily make it true

Like many folk theories, the folk theory of truth is useful in everyday life but, upon deep analysis, turns out to be technically self-contradictory; in particular, any [[formal system]] that fully obeys "capture and release" semantics for truth (also known as the ''[[T-schema]]''), and that also respects classical logic, is provably [[inconsistent]] and succumbs to the [[liar paradox]] or to a similar contradiction.<ref>Bueno, Otávio, and Mark Colyvan. "Logical non-apriorism and the law of non-contradiction." The law of non-contradiction: New philosophical essays (2004): 156–75.</ref>

==Views==
{{summarize section|date=March 2024}}
===Ancient Greek philosophy===

{{see also| Aletheia}}
[[Socrates]]', [[Plato]]'s and [[Aristotle]]'s ideas about truth are seen by some as consistent with [[Correspondence theory of truth|correspondence theory]]. In his ''[[Metaphysics (Aristotle)|Metaphysics]]'', Aristotle stated: "To say of what is that it is not, or of what is not that it is, is false, while to say of what is that it is, and of what is not that it is not, is true".<ref name=StanfordCorr>David, Marion (2005). [http://plato.stanford.edu/entries/truth-correspondence/#1 "Correspondence Theory of Truth"] {{Webarchive|url=https://web.archive.org/web/20140225071446/http://plato.stanford.edu/entries/truth-correspondence/#1 |date=2014-02-25 }} in [[Stanford Encyclopedia of Philosophy]]</ref> The [[Stanford Encyclopedia of Philosophy]] proceeds to say of Aristotle:

<blockquote>[...] Aristotle sounds much more like a genuine correspondence theorist in the ''Categories'' (12b11, 14b14), where he talks of "underlying things" that make statements true and implies that these "things" (pragmata) are logically structured situations or facts (viz., his sitting, his not sitting). Most influential is his claim in ''De Interpretatione'' (16a3) that thoughts are "likenesses" (homoiosis) of things. Although he nowhere defines truth in terms of a thought's likeness to a thing or fact, it is clear that such a definition would fit well into his overall philosophy of mind. [...]<ref name=StanfordCorr/></blockquote>

Similar statements can also be found in Plato's dialogues (''[[Cratylus (dialogue)|Cratylus]]'' 385b2, ''[[Sophist (dialogue)|Sophist]]'' 263b).<ref name=StanfordCorr/>

Some Greek philosophers maintained that truth was either not accessible to mortals, or of greatly limited accessibility, forming early [[philosophical skepticism]]. Among these were [[Xenophanes]], [[Democritus]], and [[Pyrrho]], the founder of [[Pyrrhonism]], who argued that there was no criterion of truth.

The [[Epicureanism|Epicureans]] believed that all sense perceptions were true,<ref>{{Cite book|title=The Cambridge Companion to Epicureanism|url=https://archive.org/details/cambridgecompani00warr_995|url-access=limited|last=Asmis|first=Elizabeth|publisher=Cambridge University Press|year=2009|editor-last=Warren|editor-first=James|page=[https://archive.org/details/cambridgecompani00warr_995/page/n93 84]|chapter=Epicurean empiricism}}</ref><ref name=":252">{{Cite book|title=Epicureanism|last=O'Keefe|first=Tim|publisher=University of California Press|year=2010|pages=97–98}}</ref> and that errors arise in how we judge those perceptions.

The [[Stoicism|Stoics]] conceived truth as accessible from [[Phantasiai|impressions]] via [[katalepsis|cognitive grasping]].

===Medieval philosophy===

====Avicenna (980–1037)====
In [[early Islamic philosophy]], [[Avicenna]] (Ibn Sina) defined truth in his work [[Kitab Al-Shifa]] ''[[The Book of Healing]]'', Book I, Chapter 8, as:
{{blockquote|What corresponds in the mind to what is outside it.<ref>Osman Amin (2007), "Influence of Muslim Philosophy on the West", ''Monthly Renaissance'' 17 (11).</ref>}}

[[Avicenna]] elaborated on his definition of truth later in Book VIII, Chapter 6:
{{Blockquote|The truth of a thing is the property of the being of each thing which has been established in it.<ref name=Aertsen>Jan A. Aertsen (1988), ''Nature and Creature: Thomas Aquinas's Way of Thought'', p. 152. Brill, 978-90-04-08451-3.</ref>}}

This definition is but a rendering of the [[medieval]] Latin translation of the work by Simone van Riet.<ref>{{cite book
| author = Simone van Riet
| title = Liber de philosophia prima, sive Scientia divina
| page = 413
| language = la}}</ref> A modern translation of the original Arabic text states:

{{blockquote|Truth is also said of the veridical belief in the existence [of something].<ref>{{cite book
| title = Avicenna: The Metaphysics of The Healing
| publisher = Brigham Young University Press
| year = 2005
| page = 284
| others = Michael E. Marmura
| isbn = 978-0-934893-77-0
}}</ref>}}

====Aquinas (1225–1274)====
Reevaluating Avicenna, and also Augustine and Aristotle, [[Thomas Aquinas]] stated in his ''Disputed Questions on Truth'':

{{blockquote|A natural thing, being placed between two intellects, is called ''true'' insofar as it conforms to either. It is said to be true with respect to its conformity with the divine intellect insofar as it fulfills the end to which it was ordained by the divine intellect... With respect to its conformity with a human intellect, a thing is said to be true insofar as it is such as to cause a true estimate about itself.<ref>''Disputed Questions on Truth'', 1, 2, c, reply to Obj. 1. Trans. Mulligan, McGlynn, Schmidt, ''Truth'', vol. I, pp. 10–12.</ref>}}

Thus, for Aquinas, the truth of the human intellect (logical truth) is based on the truth in things (ontological truth).<ref>"Veritas supra ens fundatur" (Truth is founded on being). ''Disputed Questions on Truth'', 10, 2, reply to Obj. 3.</ref> Following this, he wrote an elegant re-statement of Aristotle's view in his [http://www.newadvent.org/summa/1016.htm Summa I.16.1]:

{{blockquote|Veritas est adæquatio intellectus et rei. (Truth is the conformity of the intellect and things.)}} Aquinas also said that real things participate in the act of being of the [[God|Creator God]] who is Subsistent Being, Intelligence, and Truth. Thus, these beings possess the light of intelligibility and are knowable. These things (beings; [[reality]]) are the foundation of the truth that is found in the human mind, when it acquires knowledge of things, first through the [[sense]]s, then through the [[understanding]] and the [[judgement]] done by [[reason]]. For Aquinas, human [[intelligence]] ("intus", within and "legere", to read) has the capability to reach the [[essence]] and [[existence]] of things because it has a non-material, [[Spirituality|spiritual]] element, although some moral, educational, and other elements might interfere with its capability.

====Changing concepts of truth in the Middle Ages====
[[Richard Firth Green]] examined the concept of truth in the later Middle Ages in his ''A Crisis of Truth'', and concludes that roughly during the reign of [[Richard II of England]] the very meaning of the concept changes. The idea of the oath, which was so much part and parcel of for instance [[Romance (heroic literature)|Romance literature]],<ref>{{cite journal|last=Rock|first=Catherine A.|year=2006|title=Forsworn and Fordone: Arcite as Oath-Breaker in the "Knight's Tale"|journal=[[The Chaucer Review]]|volume=40|issue=4|pages=416–32|jstor=25094334|doi=10.1353/cr.2006.0009|s2cid=159853483 }}</ref> changes from a subjective concept to a more objective one (in [[Derek Pearsall]]'s summary).<ref name=pearsall>{{cite journal|last=Pearsall|first=Derek|year=2004|title=Medieval Literature and Historical Enquiry|journal=[[Modern Language Review]]|volume=99|issue=4|pages=xxxi–xlii|jstor=3738608|doi=10.2307/3738608|s2cid=155446847 }}</ref> Whereas truth (the "trouthe" of ''[[Sir Gawain and the Green Knight]]'') was first "an ethical truth in which truth is understood to reside in persons", in Ricardian England it "transforms...into a [[political truth]] in which truth is understood to reside in documents".<ref>{{cite journal|last=Fowler|first=Elizabeth|year=2003|title=Rev. of Green, ''A Crisis of Truth''|journal=[[Speculum (journal)|Speculum]]|volume=78|issue=1|pages=179–82|jstor=3301477|doi=10.1017/S0038713400099310}}</ref>

===Modern philosophy===

====Kant (1724–1804)====
[[Immanuel Kant]] endorses a definition of truth along the lines of the correspondence theory of truth.<ref name=StanfordCorr/> Kant writes in the ''[[Critique of Pure Reason]]'': "The nominal definition of truth, namely that it is the agreement of cognition with its object, is here granted and presupposed".<ref name = "Kant-1781">Kant, Immanuel (1781/1787), ''[[Critique of Pure Reason]]''. Translated and edited by Paul Guyer and Allen W. Wood (Cambridge: Cambridge University Press, 1998), A58/B82.</ref> He denies that this correspondence definition of truth provides us with a test or criterion to establish which judgements are true. He states in his logic lectures:
<blockquote>[...] Truth, it is said, consists in the agreement of cognition with its object. In consequence of this mere nominal definition, my cognition, to count as true, is supposed to agree with its object. Now I can compare the object with my cognition, however, only ''by cognizing it''. Hence my cognition is supposed to confirm itself, which is far short of being sufficient for truth. For since the object is outside me, the cognition in me, all I can ever pass judgement on is whether my cognition of the object agrees with my cognition of the object.

The ancients called such a circle in explanation a ''diallelon''. And actually the logicians were always reproached with this mistake by the sceptics, who observed that with this definition of truth it is just as when someone makes a statement before a court and in doing so appeals to a witness with whom no one is acquainted, but who wants to establish his credibility by maintaining that the one who called him as witness is an honest man. The accusation was grounded, too. Only the solution of the indicated problem is impossible without qualification and for every man. [...]<ref name = "Kant-1801">Kant, Immanuel (1801), ''The Jäsche Logic'', in ''Lectures on Logic''. Translated and edited by J. Michael Young (Cambridge: Cambridge University Press, 1992), pp. 557–58.</ref></blockquote>
This passage makes use of his distinction between nominal and real definitions. A nominal definition explains the meaning of a linguistic expression. A real definition describes the essence of certain [[Object (philosophy)|objects]] and enables us to determine whether any given item falls within the definition.<ref name = "Vanzo-Kant">Alberto Vanzo, "Kant on the Nominal Definition of Truth", ''Kant-Studien'', 101 (2010), pp. 147–66.</ref> Kant holds that the definition of truth is merely nominal and, therefore, we cannot employ it to establish which judgements are true. According to Kant, the ancient skeptics were critical of the logicians for holding that, by means of a merely nominal definition of truth, they can establish which judgements are true. They were trying to do something that is "impossible without qualification and for every man".<ref name = "Kant-1801" />

====Hegel (1770–1831)====
[[G. W. F. Hegel]] distanced his philosophy from empiricism by presenting truth as a self-moving process, rather than a matter of merely subjective thoughts. Hegel's truth is analogous to [[organics]]{{dn|date=May 2024}} in that it is self-determining according to its own inner logic: "Truth is its own self-movement within itself."<ref>"Die Wahrheit ist die Bewegung ihrer an ihr selbst." ''[[The Phenomenology of Spirit]]'', Preface, ¶ 48</ref>

====Schopenhauer (1788–1860)====
For [[Arthur Schopenhauer]],<ref>''On the Fourfold Root of the Principle of Sufficient Reason'', §§ 29–33</ref> a [[judgment]] is a combination or separation of two or more [[concept]]s. If a judgment is to be an expression of [[knowledge]], it must have a [[Principle of sufficient reason|sufficient reason]] or ground by which the judgment could be called true. ''Truth is the reference of a judgment to something different from itself which is its sufficient reason (ground)''. Judgments can have material, formal, transcendental, or metalogical truth. A judgment has ''material'' truth if its concepts are based on intuitive perceptions that are generated from sensations. If a judgment has its reason (ground) in another judgment, its truth is called logical or ''formal''. If a judgment, of, for example, pure mathematics or pure science, is based on the forms (space, time, causality) of intuitive, empirical knowledge, then the judgment has ''transcendental'' truth.

====Kierkegaard (1813–1855)====
When [[Søren Kierkegaard]], as his character ''Johannes Climacus'', ends his writings: ''My thesis was, subjectivity, heartfelt is the truth'', he does not advocate for [[subjectivism]] in its extreme form (the theory that something is true simply because one believes it to be so), but rather that the objective approach to matters of personal truth cannot shed any light upon that which is most essential to a person's life. Objective truths are concerned with the facts of a person's being, while subjective truths are concerned with a person's way of being. Kierkegaard agrees that objective truths for the study of subjects like mathematics, science, and history are relevant and necessary, but argues that objective truths do not shed any light on a person's inner relationship to existence. At best, these truths can only provide a severely narrowed perspective that has little to do with one's actual experience of life.<ref>Kierkegaard, Søren. ''Concluding Unscientific Postscript''. Princeton, Princeton University Press, 1992</ref>

While objective truths are final and static, subjective truths are continuing and dynamic. The truth of one's existence is a living, inward, and subjective experience that is always in the process of becoming. The values, morals, and spiritual approaches a person adopts, while not denying the existence of objective truths of those beliefs, can only become truly known when they have been inwardly appropriated through subjective experience. Thus, Kierkegaard criticizes all systematic philosophies which attempt to know life or the truth of existence via theories and objective knowledge about reality. As Kierkegaard claims, human truth is something that is continually occurring, and a human being cannot find truth separate from the subjective experience of one's own existing, defined by the values and fundamental essence that consist of one's way of life.<ref>Watts, Michael. ''Kierkegaard'', Oxford: Oneworld Publications, 2003</ref>

====Nietzsche (1844–1900)====
[[Friedrich Nietzsche]] believed the search for truth, or 'the will to truth', was a consequence of the ''[[will to power]]'' of philosophers. He thought that truth should be used as long as it promoted life and the ''will to power'', and he thought untruth was better than truth if it had this life enhancement as a consequence. As he wrote in ''[[Beyond Good and Evil]]'', "The falseness of a judgment is to us not necessarily an objection to a judgment... The question is to what extent it is life-advancing, life-preserving, species-preserving, perhaps even species-breeding..." (aphorism 4). He proposed the ''will to power'' as a truth only because, according to him, it was the most life-affirming and sincere perspective one could have.

Robert Wicks discusses Nietzsche's basic view of truth as follows:
<blockquote>[...] Some scholars regard Nietzsche's 1873 unpublished essay, "On Truth and Lies in a Nonmoral Sense" ("Über Wahrheit und Lüge im außermoralischen Sinn") as a keystone in his thought. In this essay, Nietzsche rejects the idea of universal constants, and claims that what we call "truth" is only "a mobile army of metaphors, metonyms, and anthropomorphisms." His view at this time is that arbitrariness completely prevails within human experience: concepts originate via the very artistic transference of nerve stimuli into images; "truth" is nothing more than the invention of fixed conventions for merely practical purposes, especially those of repose, security and consistence. [...]<ref>Robert Wicks, [http://plato.stanford.edu/entries/nietzsche/#EarWri187187 Friedrich Nietzsche – Early Writings: 1872–1876] {{Webarchive|url=https://web.archive.org/web/20180904231138/http://plato.stanford.edu/entries/nietzsche/#EarWri187187 |date=2018-09-04 }}, The Stanford Encyclopedia of Philosophy (Spring 2008 Edition), Edward N. Zalta (ed.)</ref></blockquote>

Separately Nietzsche suggested that an ancient, metaphysical belief in the divinity of Truth lies at the heart of and has served as the foundation for the entire subsequent [[Western intellectual tradition]]: "But you will have gathered what I am getting at, namely, that it is still a metaphysical faith on which our faith in science rests—that even we knowers of today, we godless anti-metaphysicians still take ''our'' fire too, from the flame lit by the thousand-year old faith, the Christian faith which was also Plato's faith, that God is Truth; that Truth is 'Divine'..."<ref>{{Cite book|url=https://books.google.com/books?id=Vf8KETLiKXMC&q=%22even+we+knowers+of+today%22&pg=PA201|title=Nietzsche: The Gay Science: With a Prelude in German Rhymes and an Appendix of Songs|first1=Friedrich|last1=Nietzsche|first2=Bernard|last2=Williams|first3=Josefine|last3=Nauckhoff|year=2001|publisher=Cambridge University Press|via=Google Books|isbn=978-0-521-63645-2}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=wMzu8j4D1SYC&q=god+is+truth&pg=PA112|title=Nietzsche: 'On the Genealogy of Morality' and Other Writings Student Edition|first=Friedrich|last=Nietzsche|year=2006|publisher=Cambridge University Press|via=Google Books|isbn=978-1-139-46121-4}}</ref>

Moreover, Nietzsche challenges the notion of objective truth, arguing that truths are human creations and serve practical purposes. He wrote, "Truths are illusions about which one has forgotten that this is what they are."<ref>{{Cite book|title=Beyond Good and Evil|first1=Friedrich|last1=Nietzsche|year=1997|publisher=Dover Publications|isbn=978-0486298689|page=46}}</ref> He argues that truth is a human invention, arising from the artistic transference of nerve stimuli into images, serving practical purposes like repose, security, and consistency; formed through metaphorical and rhetorical devices, shaped by societal conventions and forgotten origins: <blockquote>"What, then, is truth? A mobile army of metaphors, metonyms, and anthropomorphisms – in short, a sum of human relations which have been enhanced, transposed, and embellished poetically and rhetorically..."<ref>{{Cite book|url=https://books.google.com/books?id=qZAmAQAAIAAJ|title=The Portable Nietzsche|first1=Friedrich|last1=Nietzsche|year=1976|publisher=Penguin Books|isbn=978-0140150629|page=46}}</ref></blockquote>

Nietzsche argues that truth is always filtered through individual perspectives and shaped by various interests and biases. In "On the Genealogy of Morality," he asserts, "There are no facts, only interpretations."<ref>{{Cite book|url=https://books.google.com/books?id=rttCAgAAQBAJ&pg=PA73|title=On the Genealogy of Morality|first1=Friedrich|last1=Nietzsche|year=1887|publisher=Oxford University Press|isbn=978-0199537082|page=73}}</ref> He suggests that truth is subject to constant reinterpretation and change, influenced by shifting cultural and historical contexts as he writes in "Thus Spoke Zarathustra" that "I say unto you: one must still have chaos in oneself to be able to give birth to a dancing star."<ref>{{Cite book|url=https://books.google.com/books?id=ezSQDwAAQBAJ&pg=PT121|title=Thus Spoke Zarathustra|first1=Friedrich|last1=Nietzsche|year=1883|publisher=Penguin UK|isbn=9780140441185|page=46}}</ref> In the same book, Zarathustra proclaims, "Truths are illusions which we have forgotten are illusions; they are metaphors that have become worn out and have been drained of sensuous force, coins which have lost their embossing and are now considered as metal and no longer as coins."<ref>{{Cite book|url=https://books.google.com/books?id=ezSQDwAAQBAJ&pg=PT121|title=Thus Spoke Zarathustra|first1=Friedrich|last1=Nietzsche|year=1883|publisher=Penguin UK|isbn=9780140441185|page=121}}</ref>

====Heidegger (1889–1976)====
Other philosophers take this common meaning to be secondary and derivative. According to [[Martin Heidegger]], the original meaning and [[essence]] of truth in [[Ancient Greece]] was unconcealment, or the revealing or bringing of what was previously hidden into the open, as indicated by the original Greek term for truth, {{lang|el-latn|[[aletheia]]}}.<ref>{{Cite web |last=Heidegger |first=Martin |title=On the Essence of Truth |url=https://aphelis.net/wp-content/uploads/2011/02/Martin-Heidegger-On-the-Essence-of-Truth.pdf |access-date=3 October 2023 |website=aphelis.net}}</ref><ref>{{cite web|url=http://www.ontology.co/heidegger-aletheia.htm|title=Martin Heidegger on Aletheia (Truth) as Unconcealment|access-date=2010-08-13|archive-url=https://web.archive.org/web/20150626101634/http://www.ontology.co/heidegger-aletheia.htm|archive-date=2015-06-26|url-status=dead}}</ref> On this view, the conception of truth as correctness is a later derivation from the concept's original essence, a development Heidegger traces to the [[Latin]] term {{lang|la|[[veritas]]}}. Owing to the primacy of [[ontology]] in Heidegger's philosophy, he considered this truth to lie within Being itself, and already in ''[[Being and Time]]'' (1927) had identified truth with "[[Heideggerian terminology|being-truth]]" or the "truth of Being" and partially with the Kantian [[thing-in-itself]] in an epistemology essentially concerning a mode of ''[[Dasein]]''.<ref>{{Cite book |last=Heidegger |first=Martin |title=Being and Time |publisher=Basil Blackswell |year=1962 |edition=1st |location=Oxford |pages=256–274}}</ref>

==== Sartre (1905–1980) ====
In ''[[Being and Nothingness]]'' (1943), partially following Heidegger, [[Jean-Paul Sartre]] identified our knowledge of the truth as a relation between the [[Being in itself|in-itself]] and [[for-itself]] of [[being]] - yet simultaneously closely connected in this vein to the data available to the material personhood, in the body, of an individual in their interaction with the world and others - with Sartre's description that "the world is human" allowing him to postulate all truth as strictly ''understood'' by [[self-consciousness]] as self-consciousness ''of'' something,<ref>{{Cite book |last=Sartre |first=Jean-Paul |title=Being and Nothingness: An Essay on Phenomenological Ontolgoy |publisher=Philosophical Library |year=1956 |edition=1st |location=New York}}</ref> a view also preceded by [[Henri Bergson]] in ''[[Time and Free Will]]'' (1889), the reading of which Sartre had credited for his interest in philosophy.<ref>{{Cite book |last=Sartre |first=Jean-Paul |url=https://www.worldcat.org/oclc/56549324 |title=The imaginary : a phenomenological psychology of the imagination |date=2004 |publisher=Routledge |others=Arlette Elkaïm-Sartre, Jonathan Webber |isbn=0-203-64410-7 |location=London |oclc=56549324}}</ref> This first [[Existentialism|existentialist]] theory, more fully fleshed out in Sartre's essay ''Truth and Existence'' (1948), which already demonstrates a more radical departure from Heidegger in its emphasis on the primacy of the idea, already formulated in ''Being and Nothingness'', of [[Existence precedes essence|existence as preceding essence]] in its role in the formulation of truth, has nevertheless been critically examined as [[Idealism|idealist]] rather than [[Materialism|materialist]] in its departure from more traditional idealist epistemologies such as those of [[Ancient Greek philosophy]] in Plato and Aristotle, and staying as does Heidegger with Kant.<ref>{{Cite journal |last=Wilder |first=Kathleen |title=Truth and existence: The idealism in Sartre's theory of truth |journal=International Journal of Philosophical Studies |year=1995 |volume=3 |issue=1 |pages=91–109|doi=10.1080/09672559508570805 }}</ref>

Later, in the ''[[Search for a Method]]'' (1957), in which Sartre used a unification of existentialism and [[Marxism]] that he would later formulate in the ''[[Critique of Dialectical Reason]]'' (1960), Sartre, with his growing emphasis on the [[Georg Wilhelm Friedrich Hegel|Hegelian]] totalisation of [[historicity]], posited a conception of truth still defined by its process of relation to a container giving it material meaning, but with specfiic reference to a role in this broader totalisation, for "subjectivity is neither everything nor nothing; it represents a moment in the objective process (that in which externality is internalised), and this moment is perpetually eliminated only to be perpetually reborn": "For us, truth is something which becomes, it ''has'' and ''will have'' become. It is a totalisation which is forever being totalised. Particular facts do not signify anything; they are neither true nor false so long as they are not related, through the mediation of various partial totalities, to the totalisation in process." Sartre describes this as a "''[[Philosophical realism|realistic]]'' epistemology", developed out of [[Karl Marx|Marx]]'s ideas but with such a development only possible in an existentialist light, as with the theme of the whole work.<ref>{{Cite book |last=Sartre |first=Jean-Paul |title=Search for a Method |publisher=Knopf |year=1963 |edition=1st |location=New York}}</ref><ref>{{Citation |last=Skirke |first=Christian |title=Jean-Paul Sartre |date=2014-04-28 |url=http://dx.doi.org/10.1093/obo/9780195396577-0192 |work=Philosophy |publisher=Oxford University Press |doi=10.1093/obo/9780195396577-0192 |isbn=978-0-19-539657-7 |access-date=2023-02-25}}</ref> In an early segment of the lengthy two-volume ''Critique'' of 1960, Sartre continued to describe truth as a "totalising" "truth of history" to be interpreted by a "Marxist historian", whilst his break with Heidegger's epistemological ideas is finalised in the description of a seemingly antinomous "[[Dualism in cosmology|dualism]] of Being and Truth" as the essence of a truly Marxist epistemology.<ref>{{Cite book |last=Sartre |first=Jean-Paul |title=Critique of Dialectical Reason |publisher=Verso |year=2004 |location=London |pages=15–41}}</ref>

==== Camus (1913–1960) ====
The well-regarded French philosopher [[Albert Camus]] wrote in his famous essay, ''[[The Myth of Sisyphus]]'' (1942), that "there are truths but no truth", in fundamental agreement with Nietzsche's [[perspectivism]], and favourably cites Kierkergaad in posing that "no truth is absolute or can render satisfactory an existence that is impossible in itself".<ref>{{Cite book |last=Camus |first=Albert |title=The Myth of Sisyphus and Other Essays |publisher=Penguin Group |year=2020 |edition=1st |location=London |pages=14–16}}</ref> Later, in ''[[The Rebel (book)|The Rebel]]'' (1951), he declared, akin to Sartre, that "the very lowest form of truth" is "the truth of history",<ref>{{Cite book |last=Camus |first=Albert |title=The Rebel |publisher=Penguin Group |year=2013 |edition=3rd |location=London |pages=180}}</ref> but describes this in the context of its abuse and like Kierkergaad in the ''[[Concluding Unscientific Postscript to Philosophical Fragments|Concluding Unscientific Postscript]]'' he criticizes Hegel in holding a historical attitude "which consists of saying: 'This is truth, which appears to us, however, to be error, but which is true precisely because it happens to be error. As for proof, it is not I, but history, at its conclusion, that will furnish it.'"<ref>{{Cite book |last=Camus |first=Albert |title=The Rebel |publisher=Penguin Group |year=2013 |edition=3rd |location=London |pages=90}}</ref>

====Whitehead (1861–1947)====
[[Alfred North Whitehead]], a British mathematician who became an American philosopher, said: "There are no whole truths; all truths are half-truths. It is trying to treat them as whole truths that plays the devil".<ref>Alfred North Whitehead, ''Dialogues'', 1954: Prologue.</ref>

The logical progression or connection of this line of thought is to conclude that truth can lie, since [[half-truth]]s are deceptive and may lead to a false conclusion.

====Peirce (1839–1914)====
[[Pragmatists]] like [[C. S. Peirce]] take truth to have some manner of essential relation to human practices for inquiring into and [[discovering]] truth, with Peirce himself holding that truth is what human [[inquiry]] would find out on a matter, if our practice of inquiry were taken as far as it could profitably go: "The opinion which is fated to be ultimately agreed to by all who investigate, is what we mean by the truth..."<ref>{{cite web|url=http://www.peirce.org/writings/p119.html|title=How to Make Our Ideas Clear|access-date=2015-08-31|archive-date=2018-10-03|archive-url=https://web.archive.org/web/20181003203035/http://www.peirce.org/writings/p119.html|url-status=live}}</ref>

====Nishida (1870–1945)====
According to [[Kitaro Nishida]], "knowledge of things in the world begins with the differentiation of unitary consciousness into knower and known and ends with self and things becoming one again. Such unification takes form not only in knowing but in the valuing (of truth) that directs knowing, the willing that directs action, and the feeling or emotive reach that directs sensing."<ref>John Maraldo, [http://plato.stanford.edu/entries/nishida-kitaro/#2.2 Nishida Kitarô – Self-Awareness] {{Webarchive|url=https://web.archive.org/web/20101204043326/http://plato.stanford.edu/entries/nishida-kitaro/#2.2 |date=2010-12-04 }}, in: ''The Stanford Encyclopedia of Philosophy'' (Spring 2005 Edition), Edward N. Zalta (ed.)</ref>

====Fromm (1900–1980)====
[[Erich Fromm]] finds that trying to discuss truth as "absolute truth" is sterile and that emphasis ought to be placed on "optimal truth". He considers truth as stemming from the survival imperative of grasping one's environment physically and intellectually, whereby young children instinctively seek truth so as to orient themselves in "a strange and powerful world". The accuracy of their perceived approximation of the truth will therefore have direct consequences on their ability to deal with their environment. Fromm can be understood to define truth as a functional approximation of reality. His vision of optimal truth is described partly in ''Man for Himself: An Inquiry into the Psychology of Ethics'' (1947), from which excerpts are included below.

: the dichotomy between 'absolute = perfect' and 'relative = imperfect' has been superseded in all fields of scientific thought, where "it is generally recognized that there is no absolute truth but nevertheless that there are objectively valid laws and principles".

: In that respect, "a scientifically or rationally valid statement means that the power of reason is applied to all the available data of observation without any of them being suppressed or falsified for the sake of the desired result". The history of science is "a history of inadequate and incomplete statements, and every new insight makes possible the recognition of the inadequacies of previous propositions and offers a springboard for creating a more adequate formulation."

: As a result "the history of thought is the history of an ever-increasing approximation to the truth. Scientific knowledge is not absolute but optimal; it contains the optimum of truth attainable in a given historical period." Fromm furthermore notes that "different cultures have emphasized various aspects of the truth" and that increasing interaction between cultures allows for these aspects to reconcile and integrate, increasing further the approximation to the truth.

====Colin Murray Turbayne====

For [[Colin Murray Turbayne]], conceptual [[metaphor]]s play a central role in the search for "objective truth" throughout the history of Western philosophical thought. In his ''The Myth of Metaphor'' he argued that metaphorical constructs are essential to any language which lays claim to embody both richness and a depth of understanding.<ref name="ReferenceB"></ref><ref>''[[Ratio (journal)|Ratio]]'' 7 (1965):176.</ref> He further argued that the mind is not a "[[Tabula Rasa]]" upon which "objective truth" becomes imprinted. Consequently, the failure to properly interpret metaphorical language as a "category mistake" ultimately serves to distort our understanding of truth. In addition, the failure to recognize [[dead metaphor]]s introduces unnecessary obfuscation during the search for truth. This is most evident in the adoption of "[[substance theory|substance]]" and "[[Stratum (linguistics)#Substratum|substratum]]" within [[Rene Des Cartes]]'s [[dualism]],<ref name="ReferenceB">[https://books.google.com/books?id=DsKvAwAAQBAJ&dq=Colin+Murray+Turbayne&pg=PA2451 ''Dictionary of Modern American Philosophers'' Shook, John. 2005 Biography of Colin Murray Turbayne on Google Books]</ref><ref name=Hesse1966></ref><ref>[http://www.sas.rochester.edu/phl/about/prize.html The University of Rochester Department of Philosophy- Berkley Essay Prize Competition - History of the Prize Colin Turbayne's ''The Myth of Metaphor'' on rochester.edu]</ref><ref>[https://www.theculturium.com/greg-goode-colin-turbayne-and-the-myth-of-metaphor/ ''The Culturium'' - "Greg Goode Colin Turbayne and the Myth of Metaphor" January 15,2017 on theculturium.com]</ref><ref name="ReferenceC">[https://books.google.com/books?id=DsKvAwAAQBAJ&dq=Colin+Murray+Turbayne&pg=PA2451 ''Dictionary of Modern American Philosophers'' Shook, John. 2005 p. 2451 Biography of Colin Murray Turbayne on Google Books]</ref><ref name=Hesse1966>{{cite journal |last1=Hesse |first1=Mary |title=Review of The Myth of Metaphor |journal=Foundations of Language |date=1966 |volume=2 |issue=3 |pages=282–284 |jstor=25000234 }}</ref> the incorporation of metaphors for the "mind" and "language" by Plato and Aristotle into the writings of both [[George Berkeley]] and [[Immanuel Kant]]<ref name=Turbayne1991>{{cite book | last=Turbayne | first=Colin Murray | title=Metaphors for the mind : the creative mind and its origins | publisher=University of South Carolina Press | publication-place=Columbia, S.C. | date=1991 | isbn=0-87249-699-6 | oclc=21675468}}</ref><ref name=Bracken1994>{{cite journal | last=Bracken | first=Harry M. | title=Colin Murray Turbayne., Metaphors for the Mind: The Creative Mind and Its Origins | journal=International Studies in Philosophy | publisher=Philosophy Documentation Center | volume=26 | issue=2 | year=1994 | issn=0270-5664 | doi=10.5840/intstudphil1994262171 | pages=151}}</ref> and the emergence of the "procreation" metaphor in Plato's ''[[Timaeus (dialogue)|Timeus]]'' within modern theories of both "thought" and "language". He concluded in his book ''Metaphors of the Mind: The Creative Mind and Its Origins'' by arguing that in each of these cases, the use of deductive reasoning over time has distorted the underlying meaning of several ancient dead metaphors. In the process, mankind has misconstrued them as "objective truths" and become the unwitting victim of the very metaphors he initially created in his search for truth..<ref name=Turbayne1991>{{cite book | last=Turbayne | first=Colin Murray | title=Metaphors for the mind : the creative mind and its origins | publisher=University of South Carolina Press | publication-place=Columbia, S.C. | date=1991 | isbn=0-87249-699-6 | oclc=21675468}}</ref><ref name=Bracken1994>{{cite journal | last=Bracken | first=Harry M. | title=Colin Murray Turbayne., Metaphors for the Mind: The Creative Mind and Its Origins | journal=International Studies in Philosophy | publisher=Philosophy Documentation Center | volume=26 | issue=2 | year=1994 | issn=0270-5664 | doi=10.5840/intstudphil1994262171 | pages=151}}</ref> <ref name=Turbayne1991 /><ref name=Bracken1994 />

====Foucault (1926–1984)====
Truth, says [[Michel Foucault]], is problematic when any attempt is made to see truth as an "objective" quality. He prefers not to use the term truth itself but "Regimes of Truth". In his historical investigations he found truth to be something that was itself a part of, or embedded within, a given power structure. Thus Foucault's view shares much in common with the concepts of [[#Nietzsche (1844–1900)|Nietzsche]]. Truth for Foucault is also something that shifts through various [[episteme]] throughout history.<ref>Foucault, M. "The Order of Things", London: Vintage Books, 1970 (1966)</ref>

====Baudrillard (1929–2007)====
[[Jean Baudrillard]] considered truth to be largely simulated, that is pretending to have something, as opposed to dissimulation, pretending to not have something. He took his cue from [[iconoclasm|iconoclasts]] whom he claims knew that images of God demonstrated that God did not exist.<ref name = "Baudrillard">Jean Baudrillard. Simulacra and Simulation. Michigan: Michigan University Press, 1994.</ref> Baudrillard wrote in "Precession of the Simulacra":
::The [[simulacrum]] is never that which conceals the truth—it is the truth which conceals that there is none. The simulacrum is true.
::—Ecclesiastes<ref>Baudrillard, Jean. [http://www.stanford.edu/dept/HPS/Baudrillard/Baudrillard_Simulacra.html "Simulacra and Simulations", in ''Selected Writings''] {{webarchive|url=https://web.archive.org/web/20040209024621/http://www.stanford.edu/dept/HPS/Baudrillard/Baudrillard_Simulacra.html |date=2004-02-09 }}, ed. [[Mark Poster]], [[Stanford University Press]], 1988; 166 ''ff''</ref><ref>Baudrillard's attribution of this quote to [[Ecclesiastes]] is deliberately fictional. "Baudrillard attributes this quote to Ecclesiastes. However, the quote is a fabrication (see Jean Baudrillard. Cool Memories III, 1991–95. London: Verso, 1997). Editor's note: In Fragments: Conversations With François L'Yvonnet. New York: Routledge, 2004:11, Baudrillard acknowledges this 'Borges-like' fabrication." Cited in footnote #4 in Smith, Richard G., [https://www.ubishops.ca/baudrillardstudies/vol2_1/smith.htm#_edn4 "Lights, Camera, Action: Baudrillard and the Performance of Representations"] {{Webarchive|url=https://web.archive.org/web/20180425060347/https://www2.ubishops.ca/baudrillardstudies/vol2_1/smith.htm#_edn4 |date=2018-04-25 }}, International Journal of Baudrillard Studies, Volume 2, Number 1 (January 2005)</ref>

Some examples of [[simulacra]] that Baudrillard cited were: that prisons simulate the "truth" that society is free; scandals (e.g., [[Watergate scandal|Watergate]]) simulate that corruption is corrected; Disney simulates that the U.S. itself is an adult place. Though such examples seem extreme, such extremity is an important part of Baudrillard's theory. For a less extreme example, movies usually end with the bad being punished, humiliated, or otherwise failing, thus affirming for viewers the concept that the good end happily and the bad unhappily, a narrative which implies that the status quo and established power structures are largely legitimate.<ref name = "Baudrillard"/>

==== Other contemporary positions ====
[[Truthmaker theory]] is "the branch of [[metaphysics]] that explores the relationships between what is true and what [[Existence|exists]]".<ref name="Asay">{{cite web |last1=Asay |first1=Jamin |title=Truthmaker Theory |url=https://iep.utm.edu/truth-ma/ |website=Internet Encyclopedia of Philosophy |access-date=2020-11-28 |archive-date=2020-11-24 |archive-url=https://web.archive.org/web/20201124032018/https://iep.utm.edu/truth-ma/ |url-status=live }}</ref> It is different from substantive theories of truth in the sense that it does not aim at giving a definition of what truth is. Instead, it has the goal of ''determining'' how truth depends on being.<ref>{{cite book |last1=Beebee |first1=Helen |last2=Dodd |first2=Julian |title=Truthmakers: The Contemporary Debate |year=2005 |publisher=Clarendon Press |pages=13–14 |url=https://philpapers.org/rec/BEETTC |access-date=2020-11-28 |archive-date=2020-12-06 |archive-url=https://web.archive.org/web/20201206202200/https://philpapers.org/rec/BEETTC |url-status=live }}</ref>

===Theological views===
{{primary_sources|date=March 2024}}
{{main|Religious views on truth}}

====Hinduism====
In [[Hinduism]], truth is defined as "unchangeable", "that which has no distortion", "that which is beyond distinctions of time, space, and person", "that which pervades the universe in all its constancy". The human body, therefore, is not completely true as it changes with time, for example. There are many references, properties and explanations of truth by Hindu sages that explain varied facets of truth, such as the national motto of [[India]]: "[[Satyameva Jayate]]" (Truth alone triumphs), as well as "Satyam muktaye" (Truth liberates), "Satya' is 'Parahit'artham' va'unmanaso yatha'rthatvam' satyam" (Satya is the benevolent use of words and the mind for the welfare of others or in other words responsibilities is truth too), "When one is firmly established in speaking truth, the fruits of action become subservient to him (patanjali yogasutras, sutra number 2.36), "The face of truth is covered by a golden bowl. ''Unveil it, O Pusan (Sun), so that I who have truth as my duty (satyadharma) may see it!''" (Brhadaranyaka V 15 1–4 and the brief IIsa Upanisad 15–18), Truth is superior to silence ([[Manusmriti]]), etc. Combined with other words, satya acts as a modifier, like ''ultra'' or ''highest'', or more literally ''truest'', connoting ''purity and excellence''. For example, satyaloka is the "highest heaven" and Satya Yuga is the "golden age" or best of the four cyclical cosmic ages in Hinduism, and so on. The Buddha, the 9th incarnation of Bhagwan Vishnu, quoted as such - Three things cannot be long hidden: the sun, the moon and the truth.

====Buddhism====
In [[Buddhism]], particularly in the [[Mahayana]] tradition, the notion of truth is often divided into the [[two truths doctrine]], which consists of [[Samvriti|relative or conventional truth]] and ultimate truth. The former refers to truth that is based on common understanding among ordinary people and is accepted as a practical basis for communication of higher truths. Ultimate truth necessarily transcends logic in the sphere of ordinary experience, and recognizes such phenomena as illusory. [[Mādhyamaka]] philosophy asserts that any doctrine can be analyzed with both divisions of truth. Affirmation and negation belong to relative and absolute truth respectively. Political law is regarded as relative, while religious law is absolute.

====Christianity====
[[File:What-is-truth02.jpg|thumb|upright|''What is Truth?'' by [[Nikolai Ge]], depicting [[John 18:38]], in which [[Pilate]] asks [[Christ]] "What is truth?"]]
[[Christianity]] has a [[Soteriology|soteriological]] view of truth. According to the [[Bible]] in [[John 14:6]], [[Jesus]] is quoted as having said "I am the way, the truth and the life: no man cometh unto the Father, but by me".

==See also==
{{Portal|Philosophy|Psychology}}
{{Div col|colwidth=15em}}
* [[Asha]]
* [[Confirmation holism]]
* [[Contextualism]]
* [[Degree of truth]]
* [[Disposition]]
* [[Eclecticism]]
* [[Epistemic theories of truth]]
* [[Imagination]]
* [[Independence (probability theory)]]
* [[Invariant (mathematics)]]
* [[McNamara fallacy]]
* [[Normative science]]
* ''[[On Truth and Lies in a Nonmoral Sense]]''
* [[Perspectivism]]
* [[Physical symbol system]]
* [[Public opinion]]
* [[Relativism]]
* [[Religious views on truth]]
* [[Revision theory]]
* [[Slingshot argument]]
* [[Subjectivity]]
* [[Tautology (logic)]]
* [[Tautology (rhetoric)]]
* [[Theory of justification]]
* [[Truth prevails]]
* [[Truthiness]]
* [[Unity of the proposition]]
* [[Verisimilitude]]
{{div col end}}

===Other theorists===
{{Div col|colwidth=20em}}
* [[Augustine of Hippo]]
* [[Brand Blanshard]]
* [[Hartry Field]]
* [[Gottlob Frege]]
* [[Paul Horwich]]
* [[Harold Joachim]]
* [[Karl Popper]]
{{div col end}}

==Notes==
{{Reflist}}

==References==
{{refbegin|20em}}
* [[Aristotle]], "The Categories", [[Harold P. Cooke]] (trans.), pp. 1–109 in ''Aristotle, Volume 1'', [[Loeb Classical Library]], [[Heinemann (book publisher)|William Heinemann]], London, 1938.
* Aristotle, "On Interpretation", [[Harold P. Cooke]] (trans.), pp. 111–79 in ''Aristotle, Volume 1'', Loeb Classical Library, William Heinemann, London, 1938.
* Aristotle, "[[Prior Analytics]]", [[Hugh Tredennick]] (trans.), pp. 181–531 in ''Aristotle, Volume 1'', Loeb Classical Library, William Heinemann, London, 1938.
* Aristotle, "[[On the Soul]]" (''De Anima''), [[W. S. Hett]] (trans.), pp. 1–203 in ''Aristotle, Volume 8'', Loeb Classical Library, William Heinemann, London, 1936.
* [[Robert Audi|Audi, Robert]] (ed., 1999), ''The Cambridge Dictionary of Philosophy'', Cambridge University Press, Cambridge, 1995. 2nd edition, 1999. Cited as CDP.
* [[James Mark Baldwin|Baldwin, James Mark]] (ed., 1901–1905), ''Dictionary of Philosophy and Psychology'', 3 volumes in 4, Macmillan, New York.
* [[Charles A. Baylis|Baylis, Charles A.]] (1962), "Truth", pp. 321–22 in Dagobert D. Runes (ed.), ''Dictionary of Philosophy'', Littlefield, Adams, and Company, Totowa, NJ.
* [[A. Cornelius Benjamin|Benjamin, A. Cornelius]] (1962), "Coherence Theory of Truth", p. 58 in Dagobert D. Runes (ed.), ''Dictionary of Philosophy'', Littlefield, Adams, and Company, Totowa, NJ.
* Blackburn, Simon, and Simmons, Keith (eds., 1999), ''Truth'', Oxford University Press, Oxford. Includes papers by James, Ramsey, Russell, Tarski, and more recent work.
* [[Subrahmanyan Chandrasekhar|Chandrasekhar, Subrahmanyan]] (1987), ''Truth and Beauty. Aesthetics and Motivations in Science'', University of Chicago Press, Chicago, IL.
* [[C.C. Chang|Chang, C.C.]], and [[H.J. Keisler|Keisler, H.J.]], ''Model Theory'', North-Holland, Amsterdam, Netherlands, 1973.
* [[Noam Chomsky|Chomsky, Noam]] (1995), ''The Minimalist Program'', MIT Press, Cambridge, Massachusetts.
* [[Alonzo Church|Church, Alonzo]] (1962a), "Name Relation, or Meaning Relation", p. 204 in Dagobert D. Runes (ed.), ''Dictionary of Philosophy'', Littlefield, Adams, and Company, Totowa, NJ.
* Church, Alonzo (1962b), "Truth, Semantical", p. 322 in Dagobert D. Runes (ed.), ''Dictionary of Philosophy'', Littlefield, Adams, and Company, Totowa, NJ.
* Clifford, W.K. (1877), "The Ethics of Belief and Other Essays". (Prometheus Books, 1999), [http://www.infidels.org/library/historical/w_k_clifford/ethics_of_belief.html infidels.org] {{Webarchive|url=https://web.archive.org/web/20091203020835/http://www.infidels.org/library/historical/w_k_clifford/ethics_of_belief.html |date=2009-12-03 }}
* [[John Dewey|Dewey, John]] (1900–1901), ''Lectures on Ethics 1900–1901'', Donald F. Koch (ed.), Southern Illinois University Press, Carbondale and Edwardsville, IL.
* Dewey, John (1932), ''Theory of the Moral Life'', Part 2 of John Dewey and [[James H. Tufts]], ''Ethics'', Henry Holt and Company, New York, 1908. 2nd edition, Holt, Rinehart, and Winston, 1932. Reprinted, Arnold Isenberg (ed.), Victor Kestenbaum (pref.), Irvingtion Publishers, New York, 1980.
* Dewey, John (1938), ''Logic: The Theory of Inquiry'' (1938), Holt and Company, New York. Reprinted, ''John Dewey, The Later Works, 1925–1953, Volume 12: 1938'', [[Jo Ann Boydston]] (ed.), Southern Illinois University Press, Carbondale and Edwardsville, IL, 1986.
* Field, Hartry (2001), ''Truth and the Absence of Fact'', Oxford University Press, Oxford.
* [[Michel Foucault|Foucault, Michel]] (1997), ''Essential Works of Foucault, 1954–1984, Volume 1, Ethics: Subjectivity and Truth'', Paul Rabinow (ed.), Robert Hurley et al. (trans.), The New Press, New York.
* Garfield, Jay L., and Kiteley, Murray (1991), ''Meaning and Truth: The Essential Readings in Modern Semantics'', Paragon House, New York.
* Gupta, Anil (2001), "Truth", in Lou Goble (ed.), ''The Blackwell Guide to Philosophical Logic'', Blackwell Publishers, Oxford.
* Gupta, Anil and [[Nuel Belnap|Belnap, Nuel]]. (1993). ''The Revision Theory of Truth''. MIT Press.
* [[Susan Haack|Haack, Susan]] (1993), ''Evidence and Inquiry: Towards Reconstruction in Epistemology'', Blackwell Publishers, Oxford.
* [[Jürgen Habermas|Habermas, Jürgen]] (1976), "What Is Universal Pragmatics?", 1st published, "Was heißt Universalpragmatik?", ''Sprachpragmatik und Philosophie'', [[Karl-Otto Apel]] (ed.), Suhrkamp Verlag, Frankfurt am Main. Reprinted, pp. 1–68 in Jürgen Habermas, ''Communication and the Evolution of Society'', Thomas McCarthy (trans.), Beacon Press, Boston, 1979.
* Habermas, Jürgen (1990), ''Moral Consciousness and Communicative Action'', Christian Lenhardt and Shierry Weber Nicholsen (trans.), Thomas McCarthy (intro.), MIT Press, Cambridge, Massachusetts.
* Habermas, Jürgen (2003), ''Truth and Justification'', Barbara Fultner (trans.), MIT Press, Cambridge, Massachusetts.
* [[Georg Hegel|Hegel, Georg]], (1977), ''[[The Phenomenology of Spirit]]'', Oxford University Press, Oxford, {{ISBN|978-0-19-824597-1}}.
* Horwich, Paul, (1988), ''Truth'', 2nd edition, Oxford University Press, Oxford.
* [[William James|James, William]] (1904), ''A World of Pure Experience''.
* James, William (1907), ''Pragmatism, A New Name for Some Old Ways of Thinking, Popular Lectures on Philosophy'', Longmans, Green, and Company, New York.
* James, William (1909), ''The Meaning of Truth, A Sequel to 'Pragmatism'', Longmans, Green, and Company, New York.
* James, William (1912), ''Essays in Radical Empiricism''. Cf. Chapt. 3, "The Thing and its Relations", pp. 92–122.
* James, William (2014), ''William James on Habit, Will, Truth, and the Meaning of Life''. James Sloan Allen (ed.), Frederic C. Beil, Publisher, Savannah, GA.
* [[Immanuel Kant|Kant, Immanuel]] (1800), ''Introduction to Logic''. Reprinted, [[Thomas Kingsmill Abbott]] (trans.), [[Dennis Sweet]] (intro.), Barnes and Noble, New York, 2005.
* [[Richard Kirkham|Kirkham, Richard L.]] (1992), ''[[Theories of Truth: A Critical Introduction]]'', MIT Press, Cambridge, Massachusetts.
* [[William Kneale|Kneale, W.]], and [[Martha Kneale|Kneale, M.]] (1962), ''The Development of Logic'', Oxford University Press, London, 1962. Reprinted with corrections, 1975.
* [[Hans Kreitler|Kreitler, Hans]], and [[Shulamith Kreitler|Kreitler, Shulamith]] (1972), ''Psychology of the Arts'', Duke University Press, Durham, NC.
* Le Morvan, Pierre (2004), "Ramsey on Truth and Truth on Ramsey", ''British Journal for the History of Philosophy'', 12 (4) 2004, 705–18, [http://www.tcnj.edu/~lemorvan/ramsey_web.pdf PDF] {{Webarchive|url=https://web.archive.org/web/20170829235557/http://www.tcnj.edu/~lemorvan/ramsey_web.pdf |date=2017-08-29 }}.
* [[Charles Sanders Peirce bibliography|Peirce, C.S., Bibliography]].
* [[Charles Sanders Peirce|Peirce, C.S.]], ''Collected Papers of Charles Sanders Peirce'', vols. 1–6, [[Charles Hartshorne]] and [[Paul Weiss (philosopher)|Paul Weiss]] (eds.), vols. 7–8, [[Arthur W. Burks]] (ed.), Harvard University Press, Cambridge, Massachusetts, 1931–1935, 1958. Cited as CP vol.para.
* Peirce, C.S. (1877), "The Fixation of Belief", ''Popular Science Monthly'' 12 (1877), 1–15. Reprinted (CP 5.358–387), (CE 3, 242–257), (EP 1, 109–123). [http://www.peirce.org/writings/p107.html Eprint] {{Webarchive|url=https://web.archive.org/web/20201211082624/http://www.peirce.org/writings/p107.html |date=2020-12-11 }}.
* Peirce, C.S. (1901), "Truth and Falsity and Error" (in part), pp. 718–20 in J.M. Baldwin (ed.), ''Dictionary of Philosophy and Psychology'', vol. 2. Reprinted, CP 5.565–573.
* [[Michael Polanyi|Polanyi, Michael]] (1966), ''The Tacit Dimension'', Doubleday and Company, Garden City, NY.
* [[W.V. Quine|Quine, W.V.]] (1956), "Quantifiers and Propositional Attitudes", ''Journal of Philosophy'' 53 (1956). Reprinted, pp. 185–96 in Quine (1976), ''Ways of Paradox''.
* Quine, W.V. (1976), ''The Ways of Paradox, and Other Essays'', 1st edition, 1966. Revised and enlarged edition, Harvard University Press, Cambridge, Massachusetts, 1976.
* Quine, W.V. (1980 a), ''From a Logical Point of View, Logico-Philosophical Essays'', 2nd edition, Harvard University Press, Cambridge, Massachusetts.
* Quine, W.V. (1980 b), "Reference and Modality", pp. 139–59 in Quine (1980 a), ''From a Logical Point of View''.
* [[John Rajchman|Rajchman, John]], and [[Cornel West|West, Cornel]] (ed., 1985), ''[[Post-Analytic Philosophy]]'', Columbia University Press, New York.
* [[Frank Plumpton Ramsey|Ramsey, F.P.]] (1927), "Facts and Propositions", ''Aristotelian Society Supplementary Volume 7'', 153–70. Reprinted, pp. 34–51 in F.P. Ramsey, ''Philosophical Papers'', David Hugh Mellor (ed.), Cambridge University Press, Cambridge, 1990.
* Ramsey, F.P. (1990), ''Philosophical Papers'', David Hugh Mellor (ed.), Cambridge University Press, Cambridge.
* [[John Rawls|Rawls, John]] (2000), ''Lectures on the History of Moral Philosophy'', Barbara Herman (ed.), Harvard University Press, Cambridge, Massachusetts.
* [[Richard Rorty|Rorty, R.]] (1979), ''Philosophy and the Mirror of Nature'', Princeton University Press, Princeton, NJ.
* [[Bertrand Russell|Russell, Bertrand]] (1912), ''The Problems of Philosophy'', 1st published 1912. Reprinted, Galaxy Book, Oxford University Press, New York, 1959. Reprinted, Prometheus Books, Buffalo, NY, 1988.
* Russell, Bertrand (1918), "The Philosophy of Logical Atomism", ''The Monist'', 1918. Reprinted, pp. 177–281 in ''Logic and Knowledge: Essays 1901–1950'', [[Robert Charles Marsh]] (ed.), Unwin Hyman, London, 1956. Reprinted, pp. 35–155 in ''The Philosophy of Logical Atomism'', [[David Pears]] (ed.), Open Court, La Salle, IL, 1985.
* Russell, Bertrand (1956), ''Logic and Knowledge: Essays 1901–1950'', [[Robert Charles Marsh]] (ed.), Unwin Hyman, London, 1956. Reprinted, Routledge, London, 1992.
* Russell, Bertrand (1985), ''The Philosophy of Logical Atomism'', [[David Pears]] (ed.), Open Court, La Salle, IL.
* [[Arthur Schopenhauer|Schopenhauer, Arthur]], (1974), ''[[On the Fourfold Root of the Principle of Sufficient Reason]]'', Open Court, La Salle, IL, {{ISBN|978-0-87548-187-6}}.
* [[Ninian Smart|Smart, Ninian]] (1969), ''The Religious Experience of Mankind'', Charles Scribner's Sons, New York.
* [[Alfred Tarski|Tarski, A.]], ''Logic, Semantics, Metamathematics: Papers from 1923 to 1938'', J.H. Woodger (trans.), Oxford University Press, Oxford, 1956. 2nd edition, John Corcoran (ed.), Hackett Publishing, Indianapolis, IN, 1983.
* [[Anthony F.C. Wallace|Wallace, Anthony F.C.]] (1966), ''Religion: An Anthropological View'', Random House, New York.
{{refend}}

===Reference works===
{{refbegin|20em}}
* [[Robert Audi|Audi, Robert]] (ed., 1999), ''The Cambridge Dictionary of Philosophy'', Cambridge University Press, Cambridge, 1995. 2nd edition, 1999. Cited as CDP.
* [[Simon Blackburn|Blackburn, Simon]] (1996), ''The Oxford Dictionary of Philosophy'', Oxford University Press, Oxford, 1994. Paperback edition with new Chronology, 1996. Cited as ODP.
* [[Dagobert D. Runes|Runes, Dagobert D.]] (ed.), ''Dictionary of Philosophy'', Littlefield, Adams, and Company, Totowa, NJ, 1962.
* ''Webster's New International Dictionary of the English Language, Second Edition, Unabridged'' (1950), W.A. Neilson, T.A. Knott, P.W. Carhart (eds.), G. & C. Merriam Company, Springfield, MA. Cited as MWU.
* ''Webster's Ninth New Collegiate Dictionary'' (1983), Frederick C. Mish (ed.), Merriam–Webster Inc., Springfield, MA. Cited as MWC.
{{refend}}

==External links==
{{wikiquote}}
{{Wiktionary|truth}}
{{Commons category|Truth}}
* [https://web.archive.org/web/20150626133902/http://www.galilean-library.org/site/index.php/page/index.html/_/essays/introducingphilosophy/10-truth-r26 An Introduction to Truth] by Paul Newall, aimed at beginners.
* [[Internet Encyclopedia of Philosophy]]:
** [http://www.iep.utm.edu/truth "Truth"]
** [http://www.iep.utm.edu/plur-tru "Pluralist Theories of Truth"]
** [http://www.iep.utm.edu/truth-ma"Truthmaker Theory"]
** [http://www.iep.utm.edu/truthpro"Prosentential Theory of Truth"]
* [[Stanford Encyclopedia of Philosophy]]:
** [http://plato.stanford.edu/entries/truth/ Truth]
** [http://plato.stanford.edu/entries/truth-coherence/ Coherence theory of truth]
** [http://plato.stanford.edu/entries/truth-correspondence/ Correspondence theory of truth]
** [http://plato.stanford.edu/entries/truth-deflationary/ Deflationary theory of truth]
** [http://plato.stanford.edu/entries/truth-identity/ Identity theory of truth]
** [http://plato.stanford.edu/entries/truth-revision/ Revision theory of truth]
** [http://plato.stanford.edu/entries/tarski-truth/ Tarski's definition of truth]
** [http://plato.stanford.edu/entries/truth-axiomatic/ Axiomatic theories of truth]
* [https://web.archive.org/web/20150626101634/http://www.ontology.co/heidegger-aletheia.htm Heidegger on Truth (Aletheia) as Unconcealment]
* [https://web.archive.org/web/20150609001038/http://www.ontology.co/aletheia.htm History of Truth: The Greek "Aletheia"]
* [http://www.ontology.co/veritas.htm History of Truth: The Latin "Veritas"]

{{Theories of Truth|state=expanded}}
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[[Category:Truth| ]]
[[Category:Concepts in epistemology]]
[[Category:Concepts in logic]]
[[Category:Metaphysical properties]]
[[Category:Ethical principles]]
[[Category:Meaning (philosophy of language)]]
[[Category:Ontology]]
[[Category:Mathematical logic]]
[[Category:Philosophical logic]]
[[Category:Reality]]
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[[Category:Virtue]]

Juan Arvizu

2024-10-04T20:36:18Z

160.72.80.178: /* External links */''rReplaced a dead External Media link on Archive.org with alive link to DAHR.org''~~~~NHPL

{{Short description|Mexican singer (1900–1985)}}
{{Infobox musical artist
| name = Juan Arvizu
| image = Juan Arvizu.jpg
| image size =
| alt =
| caption = Arvizu in 1944
| birth_name = Juan Nepomuceno Arvizu Santelices
| alias = Juan Arvizu
| birth_date = {{birth_date|1900|5|22}}
| birth_place = [[Santiago de Querétaro]], Mexico
| origin =
| death_date = {{death date and age|1985|11|19|1900|5|22}}
| death_place = [[Mexico City]], Mexico
| genre = [[Opera]], [[Bolero]], [[Vocalist]]
| occupation = [[Lyric tenor]]
| instrument =
| years_active = 1924–1967
| associated_acts = [[New York Philharmonic]], [[CBS]] Pan American Orchestra, Consuelo Escobar de Castro Opera, Orquesta de la Radio Caracas, [[Agustín Lara]], [[Nestor Mesta Chayres]], [[John Serry Sr.]], [[Voice of America]], [[Viva América]]
}}
'''Juan Nepomuceno Arvizu Santelices''' (known as '''Juan Arvizu'''; May 22, 1900 – November 19, 1985), was an acclaimed lyric [[tenor]] in [[Mexico]] and a noted interpreter of the Latin American [[bolero]] and [[tango]] on the international concert stage, on the radio and in film. He was widely noted for his interpretations of the works of [[Agustin Lara]] and [[María Grever]] and was nicknamed "The Tenor With the Silken Voice".

==Biography==
===Early years===
Juan Nepomuceno Arvizu Santelices was born in [[Querétaro]], Mexico, to Pedro Arvizu and Trinidad Santelices. As a child, he assisted his father as a radio-telegraph operator. His mother encouraged him to study vocalization, [[solfège]] and harmony while he sang in a children's choir. By the age of 22 he was accepted into the [[Conservatorio Nacional de Música (Mexico)]] in [[Mexico City]], where he continued his studies.<ref>[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu - Biography on books.google.com</ref> His artistic abilities attracted the attention of several music teachers including José Pierson, who had instructed such noted vocalists as [[Jorge Negrete]], [[José Mojica]], [[Alfonso Ortiz Tirado]], [[Pedro Vargas]] and Juan Pulido. Arvizu first appeared with Pierson's opera company while performing on stage with the noted soprano [[Ángeles Ottein]] and [[Consuelo Escobar de Castro|Consuelo Escobar]].<ref>Hernán Restrepo-Duque: «Notas. Prohibited in the Voice of Juan Arvizu. RCA Victor. Medellín: Sonolux.</ref>

At the age of 24, Arvizu made his debut at the Teatro Esperanza Iris with a role in ''La sonámbula'' by [[Vincenzo Bellini]].<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu Biography'' - Juan Arvizu debut at Teatro Esperanza Iris on todotango.com]</ref> As a member of the Consuelo Escobar de Castor Opera Company he continued in this role and traveled abroad. He visited New York City during this time and continued to augment his operatic repertoire to include the [[Argentine tango]] and the works of [[María Grever]] and Alfonso Esparza Oteo. By 1927, Arvizu returned to Mexico and appeared in another operatic production at the Teatro Esperanza Iris of [[Giacomo Meyerbeer]]'s work ''[[Dinorah]]''.<ref name="books.google.com">[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu on books.google.com</ref>

While Arvizu's natural vocal qualities and the power of his operatic voice attracted the attention of the public, he faced financial obstacles in his professional endeavors at this time. With this in mind he increased his repertoire to include the popular tango and initiated appearances in cafes and cinemas.<ref name="books.google.com"/> Pepe Cantillo, who directed one of the most famous music revues in Mexico soon engaged Arvizu.<ref>Hernán Restrepo-Duque: Notas. The songs of “Ahora seremos felices” and other hits of those days. RCA Victor. Medellín: Sonolux.</ref><ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - Vintagemusic.fm'' Juan Arvizu performs in music revue of Pepe Cantillo on vintagemusic.fm]</ref> His performances in the opera house also attracted the attention of leading figures in the phonographic industry. At this time the popular music field welcomed such noted operatic artists as Margarita Cueto, [[Pedro Vargas]], Juan Pulido, Carlos Mejía, [[Carlos Almenar Otero]], [[Alfredo Sadel]] and [[Tito Schipa]] among others. Juan Arvizu was no exception, entrusting his voice to the Brunswick record label in 1928. His first recording of the song ''Varita de nardo'' by Joaquin Pardavé was well received among audiences. The [[RCA Victor]] record label soon included him on their staff, thereby beginning one of the most prolific careers in popular music. The composer [[Jorge del Moral]] entrusted his composition ''Por Unos Ojos'' to Arvizu, whose vocal versatility and musical qualities earned him the nickname "The Tenor With the Silken Voice".<ref>[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu- "The Tenor With The Silken Voice" on books.google.com</ref><ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Todo Tango - Juan Arvizu - nicknames El Tenor de la Voice de Seda --The Tenor with the Silken Voice'' on todotango.com]</ref><ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - "The Tenor With The Silken Voice'' on www.vintagemusic.fm]</ref>

===International recognition===
Based upon these achievements, Radio [[XEW-AM|XEW]] in Mexico invited Arvizu in 1930 to inaugurate its first broadcast in 1930.<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu - Biography in Todo Tango'' - Juan Arvizu inaugurates Radio XEW on tototango.com]</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Biography&pg=PT73 ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 56-57 {{ISBN|978-0-19-989245-7}} Juan Arvizu and Agustin Lara collaborate on the launch of radio XEW on books.google.com</ref> This would not be the only time that the "Tenor With the Silken Voice" would receive such recognition. In fact, Arvizu had the honor of initiating broadcasts on several other international radio stations. For example, in 1935, he inaugurated a show on LR1 - Radio El Mundo in Buenos Aires, Argentina.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biography - Vintagemusic.fm'' Juan Arvizu inaugurates Radio LR1 in vintagemusic.fm]</ref> Years later in 1942 he premiered with the Cadena de Las Amėricas of the [[Columbia Broadcasting System]] (CBS) and [[Voice of America]] on the ''[[Viva América]]'' show in New York, in collaboration with the orchestra conductor [[Alfredo Antonini]], the Puerto Rican vocalist [[Elsa Miranda]], the Argentine composer [[Terig Tucci]], the Mexican American vocalist [[Eva Garza]] and the concert accordionist [[John Serry Sr.]]<ref>'The New York Times", May 5, 1941, Pg. 32</ref><ref name="PictoralHistory">{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (Juan Arvizu photographed with the CBS Pan American Orchestra in New York)</ref><ref>Media Sound & Culture in Latin America & The Caribbean. Editores: Bronfman, Alejandra & Wood, Andrew Grant.University of Pittsburgh Press, Pittsburgh, PA, USA, 2012 Pg. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Books.google.com Vea la pág. 49]</ref><ref>[https://books.google.com/books?id=aPAvAAAAYAAJ&q=Juan+Arvizu ''The Pan American'' - Volume 2 1941, p. 46, p. 55- "Latin American Ballad Singer Comes For Radio" Juan Arvizu on books.google.com]</ref><ref>[https://books.google.com/books?id=2E4QAAAAIAAJ&q=Juan+Arvizu ''Newsweek'' Volume 17 1941 p. 68 Juan Arvizu recruited by Edmund Chester for CBS radio on google.books.com]</ref><ref>[https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''] Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 155-157 {{ISBN|978-0-8166-7316-2}} Eva Garza and Viva America on google.books.com</ref> In 1941 he also collaborated with the [[Andre Kostelanetz]] Orchestra in live performance on the radio for WABC in New York City.<ref>[https://books.google.com/books?id=QXMrk00pi-sC&dq=Juan+Arvizu&pg=PA317 ''Andre Kostelanetz on Records and On The Air - A Discography and Radio Log''] North, James A. The Scarecrow Press Inc., Plymouth UK 2011 p. 317 {{ISBN|978-0-8108-7732-0}} on books.google.com</ref> By 1945 his performances on the CBS network were heard by audiences in twenty Latin American nations and were rebroadcast for members of America's Armed forces on the Armed Forces Radio Service.<ref>[https://books.google.com/books?id=Qx00pQIkclMC&q=ociaa&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''] Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 152-155 {{ISBN|978-0-8166-7316-2}} OCIAA (Office of the Coordinator of Inter-American Affairs), FDR's Good Neighbor Policy, CBS, Viva America, La Cadena de las Americas on google.books.com</ref><ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&dq=Nestor+Mesta+Chayres&pg=PA33 ''The Directory of the Armed Forces Radio Service'' Mackenzie, Harry. Greenwood Press, London, 1999, p. 33 Recordings by Alfredo Antonini with Juan Arvizu and Nestor Mesta Chayres on the Directory of the Armed Forces Radio Service during 1945-1949 on Google Books]</ref>
His performances with the CBS Pan American Orchestra were also noteworthy for helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States during the 1940s.<ref>Media Sound & Culture in Latin America & The Caribbean. Editores: Bronfman, Alejandra & Wood, Andrew Grant.University of Pittsburgh Press, Pittsburgh, PA, USA, 2012 Pg. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Juan Arvizu, CBS Pan American Orchestra & Latin American music Books.google.com]</ref> But one of his greatest achievements was to "discover" one of Mexico's leading composers, [[Agustín Lara]] in 1929.<ref>[https://books.google.com/books?id=kp6FAgAAQBAJ&dq=Juan+Arvizu+discovers+Agustin+Lara&pg=PA833 ''Encyclopedia of Contemporary Latin American and Caribbean Cultures''] Editors: Daniel Balderston, Mike Gonzalez, Ana M. López. Routledge Taylor and Francis Group, London p. 833 {{ISBN|1134788525}}, "Agustin Lara" biography - on books.google.com</ref><ref>[https://www.elsiglodetorreon.com.mx/noticia/1167578.1970-fallece-el-cantautor-mexicano-agustin-lara-el-flaco-de-oro.html ''El Sigo De Torrén - 1970: Fallece el cantautor mexicano Agustín Lara, 'El Flaco de Oro{{'}}'' Agustin Lara Obituary and Juan Arvizu on elsiglodetorreon.com]{{in lang|es}}</ref>

[[File:Agustín Lara (H. Peraza) Madrid 02.jpg|thumb|left|Agustín Lara (H. Peraza) Madrid 02]]

During the 1920s and 1930s, the [[tango]] was very popular in Mexico. Arvizu premiered many of these songs in Pepe Cantillo's music revue.<ref name="vintagemusic.fm">[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - Vintagemusic.fm'' Juan Arvizu premiers songs in Pepe Cantillo's music revue on vintagemusic.com]</ref> While searching for an accompanist, the tenor agreed to hire an unknown bohemian pianist at the ordinary Café Salambó. That pianist was Agustín Lara.<ref>[https://books.google.com/books?id=kp6FAgAAQBAJ&dq=Juan+Arvizu+discovers+Agustin+Lara&pg=PA833 ''Encyclopedia of Contemporary Latin American and Caribbean Cultures''] Editors: Daniel Balderston, Mike Gonzalez, Ana M. López. Routledge Taylor and Francis Group, London p. 833 {{ISBN|1134788525}}, "Agustin Lara" -biography - Juan Arvizu "Discovers" Agustín Lara on books.google.com</ref><ref name="vintagemusic.fm"/> At first, Agustín Lara was a tango composer, but his compositions lacked the proper accompaniment of the tango orchestra. As a result, his works were classified within the "creole song" genre. Arvizu was the first singer to champion Lara's compositions through his performances in cinemas and on the radio.<ref>[https://books.google.com/books?id=RmRdAAAAMAAJ&q=Juan+Arvizu ''Golpe aL Corazón: Tangos y Boleros'' Carlos Joaquin Ossa, Planeta, 1997 p. 32 Juan Arvizu on books.google.com]{{in lang|es}}</ref><ref>[https://books.google.com/books?id=mzsUAQAAIAAJ&q=Juan+Arvizu+Agustin+Lara ''What Boleros Tell: The Story of 100 beautiful boleros, their composer and their best performers'' Hernán Restrepo Duque. Centro de Estudios Musicales, 1992, p. 33 Juan Arvizu - first interpreter of Lara who premiers his works on radio XEW on google.books.com]{{in lang|es}}</ref> The performances of the Lara-Arvizu duo on radio XEW were well received by the public.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu Biographie - Vintagemusic.fm'' Juan Arvizu and Agustín Alara and the tango history on vintagemusic.fm]</ref> Along with other leading vocalists of the time such as [[Pedro Vargas]] and [[Alfonso Ortiz Tirado]], Arvizu helped to popularize several of Lara's greatest compositions.<ref>[https://books.google.com/books?id=d7DHvfmzHhkC&dq=Juan+Arvizu&pg=PA157 ''From Tejano to Tango: Essays on Latin American Popular Music''] Editor: Walter Aaron Clark. Routledge, New York, 2002 p. 157 {{ISBN|0-8153-3639-X}} "From Tejano To Tango - Essays on Latin American Popular Music - Époco de oro - Juan Arvizu helps popularize Agustín Lara, see page 157 on google.books.com</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Biography&pg=PT73 ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 56-57 {{ISBN|978-0-19-989245-7}} Juan Arvizu and Ortiz Tirado help to promote the work of Agustin Lara on books.google.com</ref> They included such works as: ''Aventura'', ''Concha Nacar'', ''Cuando Vuelvas'', ''Enamorada'', ''[[Granada (song)|Granada]]'', ''Santa'' and ''Tus Pupilas''.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ Juan Arvizu Biography on vintagemnsuc.fm]</ref><ref name="youtube.com">[https://www.youtube.com/watch?v=XZZ8QmP_rzc ''Juan Arvizu - Granada'' Juan Arvizu performs with Orchestra on youtube]</ref><ref>[http://adp.library.ucsb.edu/index.php/resources/detail/163 Juan Arvizu and Orchestra Discography including "Granada" on "Discography of American Historical Recordings" - University of California at Santa Barbara - Library - Juan Arvizu Discography on adp.library.ucsb.edu]</ref>

Juan Arvizu achieved international recognition in the 1930s. By 1935, the singer made his first international tour and arrived in Buenos Aires for the launching of the LR1 Radio El Mundo.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie'' on vintagemusic.fm]</ref> While his stay in Buenos Aires was scheduled for only two months, it lasted for over a year and a half.<ref name="todotango.com">[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Todo Tango - Juan Arvizu'' Biography of Juan Arvizu by Nestor Pinson on todotango.com]{{in lang|es}}</ref> It was a triumphant season for Juan Arvizu. This feat would be repeated years later when he finished his contract in New York with RCA Victor. He stayed in Argentina for 18 years and launched many concert tours abroad from this venue.<ref name="todotango.com"/>

The zenith of Juan Arvizu's career emerged in 1944. In Argentina alone, the singer earned $60,000. Audiences flocked to the stages and concert venues where Juan Arvizu appeared.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu Biographie'' on vintagemusic.fm]</ref> He lived for several years in Chile while performing boleros<ref>[https://books.google.com/books?id=GB03DwAAQBAJ&dq=Juan+Arvizu&pg=PT656 ''The Garland Encyclopedia of Music: South America, Mexico, Central America and the Caribbean'']. Editors Dale A. Danield E. Sheehy Olsen Garland Publishing Co. 1998 p. 372 {{ ISBN|0-8240-6040-7}} on books.google.com</ref> as well as in Colombia.

Upon returning to his native Mexico, however, Juan failed to receive the recognition which he had expected. With the passage of time, a new generation had emerged with different musical preferences. Juan had been pushed into the background. After a long tour in his native town of Queretáro, Mexico in 1967, he embarked upon a period of rest since his life had been characterized by continuous movement.<ref>[http://www.todotango.com/english/artists/biography/1585/Juan-Arvizu/ Juan Arvizu Biography on todotango.com]</ref>

===Recordings===
{{ external media |width=180px|image1=Photograph of Juan Arvizu on [[CBS Radio]] with [[Alfredo Antonini]] and the CBS Pan American Orchestra in 1941 [https://www.gettyimages.co.nz/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/1132944388?adppopup=true '''Here on Getty Images''']|image2=Photograph of Juan Arvizu on CBS Radio in 1941 [https://www.gettyimages.com/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/1132944383?adppopup=true '''Here on Getty Images''']|image3=Photograph of Juan Arvizu on CBS Radio in 1941 [https://www.gettyimages.com/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/613169546?adppopup=true '''here on Getty images''']}}

Juan Arvizu was one of the most recorded singers in the history of Latin music.<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu - Biographie'' on todotango.com]{{in lang|es}}</ref> As a prolific performer, he recorded for several leading labels including: [[RCA Victor]], [[Columbia Records]] and [[Tico Records]]. He often premiered compositions by several prominent Latin composers including: Mario Clavell from Argentina, [[Rafael Hernández Marín]] from Puerto Rico, Donato Roman Heitman from Chile, Enrique Fábrega from Panama, [[Carlos Vieco]], Augusto Duque from Colombia, and [[Agustín Lara]], Gonzalo Curiel and [[Gabriel Ruiz (songwriter)|Gabriel Ruiz Galindo]] from Mexico.<ref>[https://adp.library.ucsb.edu/index.php/talent/detail/889/Arvizu_Juan_vocalist_tenor_vocal ''DAHR Discography if American Historical Recordings - Juan Arvizu'' on University of California at Santa Barbara at adp.library.ucsb.edu]</ref>

Arvizu also performed in duo with other noted musicians. His recordings with Margarita Cueto include several famous songs such as: ''Taboga'', ''Más Vale Tarde Que Nunca,'' ''Bajo el Palmar,'' ''Deseparacíon,'' among many others. With Juan Pulido he recorded ''El Último Beso'' and with [[Alfonso Ortiz Tirado]], ''Negra Linda''. Arvizu was also accompanied by several renowned orchestras of his time including: Marimba Panamerica, the Chucho Zarzosa Orchestra, the Vieri Fidanzani Orchestra, the [[Francisco Lomuto]] Orchestra, the E. Vigil and Robles Orchestra, the Orchestra of Juan S. Garrido, the CBS Pan American Orchestra,<ref name="PictoralHistory" /><ref>Media Sound & Culture in Latin America. Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 books.google.com See pg. 49]</ref><ref>''The New York Times'' May 5, 1941 p. 32</ref> and many others.<ref>Hernán Restrepo-Duque: «Notas. A tropical night: Juan Arvizu. RCA Victor. Medellín: Sonolux.</ref>

Juan Arvizu is credited with several single recordings of [[boleros]], [[air (music)|aires]], [[wikt:tangos|tangos]], [[waltzes]] and [[milonga (music)|milongas]]. It has been estimated that during the course of his career he recorded over 2,000 discs. Among some of the most popular titles are his interpretations of: ''Arrepentimiento'' ''Cada Vez Que Me Recuerdes'', ''Corrientes y Esmeralda'', ''Qué Fácil Es Decir'', ''La Cumparsita'', ''Lágrimas de Sangre'', ''Madreselva Caminito'', ''Mi Buenos Aires Querido'', ''Mi Único Amor'', ''Nido Gaucho'', '' No Cantes Ese Tango'', ''Nuestra Casita'', ''Pecado'', ''Plegaria'', ''Prohibido'', '' Salud Dinero y Amor'', '' Señior Juez'', ''Si Dejaras de Quererme'', ''Sinceramente'', ''Tengo Mil Novias'', ''Verdemar'', ''Una Cación''.<ref name="todotango.com"/>

====''Serpentina Doble''====
Among the many songs showcased by Arvizu is the composition ''Serpentina Doble'' by Juan Rezzano. The song tells the tale of a boy who was selling colored strips of paper and subsequently suffers a fatal accident caused by a vehicle which is driven by a [[pierrot]] at a carnival. The boy passes away in a hospital just as the carnival also comes to an end. The composer of the song is said to have heard his father singing the beautiful melody at home when he was very young.<ref>[http://www.mp3s-musica.com/descargar/juan-arvizu-80-anios ''Juan Arvizu 80 anos MP3 - Serpentina Doble'' as sung by Juan Arvizu on mp3s-musica.com] {{Webarchive|url=https://web.archive.org/web/20180501160827/http://www.mp3s-musica.com/descargar/juan-arvizu-80-anios |date=2018-05-01 }}{{in lang|es}}</ref><ref>[http://www.hermanotango.com.ar/Letras%20281007/SERPENTINA%20DOBLE.htm ''Serpentina Doble'' by Juan Rezzano on hermanotango.com]{{in lang|es}}</ref>

===Cinema===
The "Seventh Art" also benefited from the presence of Juan Arvizu. He participated in several films including ''Santa'' and ''Reír llorando'', which were produced in Mexico. In Cuba, Arvizu starred in the most important film of his career ''Ahora Seremos Felices'' with the charismatic Puerto Rican artist [[Mapy Cortés]].<ref>[https://www.imdb.com/title/tt2191607/?ref_=nmbio_mbio ''Ahora Seremos Felices'' Film featuring Juan Arvizu in 1938 on IMDB.com]</ref> By 1939, Arvizu had already reached the zenith of his fame. Even though the plot of the film was simple, it generated fabulous revenues. Arvizu sang several boleros by the composer [[Rafael Hernández Marín|Rafael Hernández]] including: ''Quiero Decirte'', ''Las Palomitas'', ''Purísima'' and ''Ahora Seremos Felices''. In 1940 he also sang in the film ''Infidelidad'' in collaboration with the actor Jorge Vélez.<ref>[https://www.imdb.com/title/tt0177863/fullcredits?ref_=tt_cl_sm#cast ''Infidelidad (1940)'' - Film featuring Juan Arvizu and Jorge Vélez on IMDB.org]</ref><ref>[https://www.imdb.com/name/nm0038139/bio?ref_=nm_ov_bio_sm ''Juan Arvizu Biography'' on IMDB.org]</ref> In the 1950s he performed in several biographical films about the composer María Grever including: ''Cuando Me Vaya'' (1954)
which earned two [[Ariel Awards]] and ''O Grande Amor De María Grever 1954 Leg'' (1954).<ref>[https://www.imdb.com/title/tt0045662/?ref_=ttfc_fc_tt ''Cuando Me Vaya'' Film featuring performance by Juan Arvizu on imdb.org]</ref><ref>[https://www.imdb.com/title/tt0045662/awards?ref_=tt_awd ''Cuando Me Vaya'' Ariel Awards (1955) on imdb.com]</ref><ref name="Juan Arvizu on imdb.com">[https://www.imdb.com/name/nm0038139/?ref_=fn_al_nm_1 Juan Arvizu on imdb.com]</ref><ref>[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Grande Amor De María Grever 1954 Leg'' Film featuring performance by Juan Arvizu on Archive.org]</ref>

=== Performance style ===
During the course of his long career recording music for the Victor label, Arvizu's performances were reviewed by critics in such leading magazines as ''The Billboard''. He was consistently praised for a passionate delivery as well as a dramatic style of chanting.<ref>[https://books.google.com/books?id=AhcEAAAAMBAJ&dq=Juan+Arvizu&pg=PT88 ''The Billboard - Artist's Tunes Labvel and No. - Latin American Juan Arvizu (Victor 23-107)'' Record review of Juan Arvizu in performance on "The Billboard" January 1, 1949 p. 89 on boobks.google.com]</ref><ref>[https://books.google.com/books?id=8BYEAAAAMBAJ&dq=Juan+Arvizu&pg=PT49 ''The Billboard - Artists TUnes LAbels And No. - Latin American - Juan Arvizu - George Adreann Ork'' Critical review of Juan Arvizu performing in "The Billboard" magazine January 15, 1949 p. 109 on books.google.com]</ref> He was also applauded for his full bodied chanting and the full tonal quality of his voice.<ref>[https://books.google.com/books?id=AB4EAAAAMBAJ&dq=Juan+Arvizu&pg=PA106 ''The Billboard - Artist Tunes Labels and No. - Latin-American - Juan Arvizu - Vieri Fidanzini Ork (Victor 23=0993)'' Critical review of Juan Arvizu performing in "The Billboard" magazine October 30, 1948 p. 106]</ref>

=== Death ===
Juan Arvizu died in Mexico City November 19, 1985. His musical legacy includes a compendium of single recordings for [[RCA Victor]], [[Columbia Records]] and [[Tico Records]] some of which were produced in both North and South America. They embody an extensive repertoire which includes the music of his fellow Mexican artists [[Agustín Lara]] and [[María Grever]].<ref name="adp.library.ucsb.edu">[http://adp.library.ucsb.edu/index.php/resources/detail/163 ''Discography of American Historical Recordings - Juan Arvizu'' Discography of Juan Arvizu - University of California Santa Barabara at adp.library.ucsb.edu]</ref><ref name="todotango.com"/> He is recognized as one of the leading Mexican tenors of his era who championed the compositions of Agustín Lara.<ref>[https://www.thefreelibrary.com/Mexican+musicians+in+California+and+the+United+States%2C+1910-50.-a0155283831 ''Mexican Tenors in California and the United States 1910-50'' - "TWO MEXICAN TENORS" - Juan Arvizu (1900-1985) identified as a leading Mexican tenor of his era on thefreelibrary.com]</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Maria+Grever&pg=PT149 ''Agustín Lara - A Cultural Cultural Biography'' Andrew Grant Wood Oxford University Press - Juan Arvizu and Maria Grever on google.books.com]</ref><ref>[https://books.google.com/books?id=RmRdAAAAMAAJ&q=Juan+Arvizu ''Golpe al Corazón: Tangos y Boleros'' Carlos Joaquín Ossa Planeta, 1997, p. 32 Juan Arvizu described as noted and vibrant singer who first championed the work of Agustin Lara-- on google.books.com]</ref><ref>[https://books.google.com/books?id=pQgEAAAAMBAJ&dq=Juan+Arvizu+Agustin+Lara&pg=PA39 ''The Billboard - A Mexican TV Series Will Honor 150 Radio Artists'' March 30, 1968 p. 39 Juan Arvizu featured in "The Golden Epoch of Radio" on XEW_TV on google.books.com]</ref>

==Discography==
Also included among Juan Arvizu's single recordings are:<ref name="adp.library.ucsb.edu"/>

* ''A La Misma Hora'' - Tico (#10-055 B) - Juan Arvizu with organist Salvador Muñoz perform this song by Ferradas Compos (19??)<ref>[https://archive.org/details/78_a-la-misma-hora_juan-arvizu-salvador-munoz-ferradas-compos-jose-tinelli_gbia0021428b ''A La Misma Hora'' Single record Juan Arvizu performs with organist Salvador Muñoz on Archive.org]</ref>
* ''Chamaca Mia'' - Victor (#46108-B) - Juan Arvizu with orchestra performs this song by María Grever (1929)<ref>[https://archive.org/details/78_chamaca-mia-sweet-girl-of-mine_juan-arvizu-maria-grever-e-vigil-y-robles_gbia0021641b ''Chamaca Mia'' Single record performed by Juan Arvizu with orchestra on Archive.org]</ref>
* ''Daño'' - RCA Victor (#23-6818) - Juan Arvizu and the Orquesta Chucho Zarzosa performm this bolero by Carlos Arturo Briz (19??)<ref>[https://archive.org/details/78_dano-harm_juan-arvizu-orquesta-chucho-zarzosa-carlos-arturo-briz_gbia0021420b ''Daño'' Single record performed by Juan Arvizu and Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''De Donde?'' - Columbia (#36666) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by María Grever (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/08+-+De+Donde%3F+-+Juan+Arvizu+and+the+C.+B.+S+Tipica+Orchestra.flac ''De Donbde?'' Single record performed by Juan Arvizu with CBS Tipica Orchestra conducted by Alfredo Antonini on Archinve.org]</ref>
* ''El Ay, Ay, Ay'' - RCA Victor (#23-5260-b) - Juan Arvizu and Mario Clavell with Orquesta Federico Ojeda perform a rabanal by Juan S. Garrido (19??)<ref>[https://archive.org/details/78_el-ay-ay-ay_juan-avizu-y-mario-clavell-orquesta-federico-ojeda-rabanal-juan-s-ga_gbia0021424b '' El Ay, Ay, Ay'' Single record Juan Arvizu and Mario Clavell with Orquesta Federico Ojeda on Archive.org]</ref>
* ''El Bigote de Tomas'' - Columbia (#36666) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by Valie (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/07+-+El+Bigote+de+Tomas+-+Juan+Arvizu+and+the+C.+B.+S+Tipica+Orchestra.flac ''El Bigot de Tomas'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''El Tulipan'' RCA Victor (23-6318) - Juan Arvizu and La Orquestra Chucho Zarzosa perform this polca by Clara Solovera (19??)<ref>[https://archive.org/details/78_el-tulipan-the-tulip_juan-arvizu-orquesta-chucho-zarzosa-clara-solovera_gbia0021422a ''El Tulipan'' Single record performed by Juan Arvizu and La Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''Ella'' - Tico (#10-056-B) - Juan Arvizu and the Orquesta Simon Alvarez perform this bolero by J. A. Jimenaz (19??)<ref>[https://archive.org/details/78_ella_juan-arvizu-simon-alvarez-j-a-jimenez_gbia0021639b ''Ella'' Single record performed by Juan Arvizu and Orquesta Simon Alvarez on Archive.org]</ref>
* ''Enamorada'' - Barcelona Compaňia del Gramófono Odeón (AQ 73065) - Juan Arvizu with Orchestra perform this bolero by Agustín Lara (1946)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Enamorada'' Single record performed by Juan Arvizu and Orchestra archived at the Biblioteca Digital Hispánica - Biblioteca Nacional de España on bdh.bne.es]{{in lang|es}}</ref>
* ''[[Granada (song)|Granado]]'' - Victor (30705) - Juan Arvizu with Orchestra sings this bolero by Agustín Lara (1932)<ref name="youtube.com"/><ref>[http://adp.library.ucsb.edu/index.php/resources/detail/163 ''Granada'' - Juan Arvizu and Orchestra performing on Victor Records (#30705) on "Discography of American Historical Recordings" - University of California at Santa Barbara - Library - Juan Arvizu and Granada on adp.library.ucsb.edu]</ref>
* ''Juan Arvizu - Trubador of the Americas''- Columbia (#36663) - Juan Arvizu with the CBS Tipica Orchestra conducted by [[Alfredo Antonini]] (1941)<ref>[https://archive.org/details/78_duerme-time-was_juan-arvizu-and-the-c-b-s-tipica-orchestra-bermejo-alfredo-ant_gbia0021701/02+-+Duerme+(Time+Was)+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Juan Arvizu - Trubador of the Americas'' Single record - Juan Arvizu performing with Alfredo Antonini's CBS Tipica Orchestra on Archive.org]</ref> List of musical selections: ''Rancho Alegre''- Felipe Bermejo Araujo, ''Duerme'' - Prado
* ''La Bamba'' - RCA Victor (#68-0612-A) - Juan Arvizu with orchestra performs this song by Luis Martinez Serrano (19??)<ref>[https://archive.org/details/78_la-bamba_juan-arvizu-luis-martinez-serrano_gbia0038485a ''La Bamba'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
*''Lejos'' - Victor (#32550-B) - Juan Arvizu and the Alfredo Cibelli Orchestra perform this canción creolla by M. Theresa Lara (1934)<ref>[https://archive.org/details/78_lejos_juan-arvizu-alfredo-cibelli-m-teresa-lara_gbia0038631b ''Lejos'' Single record performed by Juan Arvizu and the Alfredo Cibelli Orchestra on archive.org]</ref>
* ''Llevame'' - Tico (#10-056-A) - Juan Arvizu and the Orquesta Simon Alvarez perform this bolero by Juan Clauso (19??)<ref>[https://archive.org/details/78_llevame_juan-arvizu-simon-alvarez-juan-clauso-tito-ribero_gbia0021639a ''Llevame'' Single record performed by Juan Arvizu and the Simon Alvarez Orchestra on Archive.org]</ref>
* ''Me lo Cantaron Ayer'' - RCA Victor (#23-5260-A) - Juan Arvizu and La Orquesta de Federico Ojeda perform this bolero mambo by Alcas/Daglio (19??)<ref>[https://archive.org/details/78_me-lo-contaron-ayer_juan-arvizu-orq-de-federico-ojeda-alcas-daglio_gbia0021424a ''Me lo Cantaro Ayer'' Single record performed by Junan Arvizu and La Orquesta de Federico Ojeda on Archive.org]</ref>
* ''Mi Carta'' - RCA Victor (#68-0612-B) - Juan Arvizu and orchestra perform this song by Mario Clavelli (19??)<ref>[https://archive.org/details/78_mi-carta_juan-arvizu-mario-clavelli_gbia0038485b ''Mi Carta'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
* ''Mi Sarape'' - Colombia (#36665) - Juan Arvizu and the CBS Tipica Orchestra conductor Alfredo Antonini perform this song by María Grever (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/05+-+Mi+Sarape+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Mi Sarape'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Nada, Nada'' - RCA Victor (#23-1233-A)- Juan Arvizu and the Orquesta de la Radio Caracas perform this guaracha by Jose Reyna (19??)<ref>[https://archive.org/details/78_nada-nada_juan-arvizu-orquesta-de-la-radio-caracas-jose-reyna_gbia0021427a ''Nada, Nada'' Single record performed by Juan Arvizu and the Orquesta de la Radio Caracas on Archive.org]</ref>
* ''No Hagas Llorar A Esa Mujer'' - RCA Victor (#23-6818) - Juan Arvizu and the Orquesta Chucho Zarzosa perform this bolero by Joaquin Pardarve (19??)<ref>[https://archive.org/details/78_no-hagas-llora-a-esa-mujer-dont-make-her-cry_juan-arvizu-orquesta-chucho-zarzosa_gbia0021420a ''No Hagas Llorar A Esa Mujer'' - Single record performed by Juan Arvizu and Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''No Mereces Nada'' - RCA Victor (#23-7149) - Juan Arvizu and La Orquesta Rafael de Paz perform this song by Manuel Alvarez Maciste (19??)<ref>[https://archive.org/details/78_no-mereces-nada-you-dont-deserve-anything_juan-arvizu-orq-rafael-de-paz-manuel_gbia0021423b ''No Merceces Nada'' Single record performed by Juan Arvizu and La Orquesta Rafael de Paz on Archive.org]</ref>
* ''Noche de Amor'' - Columbia (#36664) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini music by Tchaikovsky (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/04+-+Noche+de+Amor+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Noche de Amor'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfr3edo Antonini on archive.org]</ref>
* ''[[Perfidia]]'' - Victor (#82690-A) - Juan Arvizu with Marimba Pan-Americana and accordion perform this Foxtrot by Alberto Dominguez (19??)<ref>[https://archive.org/details/78_perfidia_marimba-pan-americana-juan-arvizu-alberto-dominguez_gbia0021642a ''Perfidia'' Single record performed by Juan Arvizu with Marimba Pan-Americana and accordion on Archive.org]</ref>
* ''Pobre Corazon'' - RCA Victor (#23-6936) - Juan Arvizu with piano, guitar and accordion perform this Valse Pasillo by Manilo/Oliviero (19??)<ref>[https://archive.org/details/78_pobre-corazon-mio-my-poor-heart_juan-arvizu-manlio-y-oliviero_gbia0021419b ''Pobre Corazon'' Single record performed by Juan Arvizu with accordion, guitar and piano on arechive.org]</ref>
* ''Poquito a Poco'' - Tico (#10-055A) - Juan Arvizu and the Simon Alvarez Orchestra perform this song by Don Fabian (19??)<ref>[https://archive.org/details/78_poquito-a-poco_juan-arvizu-simon-alvarez-don-fabian_gbia0021428a ''Pobre Corazon'' Single record performed by Juan Arvizu with the Simon Alvarez Orchestra on Archive.org]</ref>
* '' Que Paso?'' - Columbia (#36665) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Anonini perform this song by Cortazar (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/06+-+Que+Paso%3F+-+Juan+Arvicu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Que Paso?'' Single record performed by Juan Arvizu and CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Senior del Milagro'' - RCA Victor (#23-6936) - Juan Arvizu performs this bolero by Cancho Manisella Casto with piano, guitar and accordion (19??)<ref>[https://archive.org/details/78_senor-del-milagro-miracle-man_juan-arvizu-cacho-manisella-castro_gbia0021419a ''Senior Del Milagro'' Single record performed by Juan Arvizu on archive.org]</ref>
* ''Señora Tentación'' - Barcelona Compaňia del Gramófono Odeón (AQ 73067) - Juan Arvizu with Orchestra perform this bolero by Agustín Lara (1946)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Seňora Tentación'' Single record performed by Juan Arvizu and Orchestra archived at the Biblioteca Digital Hispánica - Biblioteca Nacional de España on bdh.bne.es]{{in lang|es}}</ref>
* ''Tu, Tu, y Tu'' - Victor (#46108-A) - Juan Arvizu performs this song by María Grever (1929)<ref>[https://archive.org/details/78_tu-tu-y-tu-you-only-you_juan-arvizu-maria-grever_gbia0021641a ''Tu, Tu, y Tu'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
* ''Ven '' - Victor (#32250-A) - Juan Arvizu perform this fox trot bolero by Gonzolo Curiel with the Alfredo Cibelli Orchestra (1934)<ref>[https://archive.org/details/78_ven_juan-arvizu-alfredo-cibelli-gonzalo-curiel_gbia0038631a ''Ven'' Single record performed by Juan Arvizu and the Alfredo Cibelli Orchestra on Archive. org]</ref>
* ''Viva Sevilla!'' - Columbia (#36664) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by Lavidada/Delmoral (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 ''Viva Sevilla!'' Single record performed by Juna Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Volvi'' - Tico (#10-059 B) - Juan Arvizu with piano and orchestra perform this song by E. Grenet (19??)<ref>[https://archive.org/details/78_volvi_juan-arvizu-salvador-munoz-e-grenet_gbia0021425b '' Volvi'' Single record performed by Juan Arvizu with piano and orchestra on Archive.org]</ref>
* ''Voy Gritando por la Calle'' RCA Victor (#23-7149) Juan Arvizu and La Orqesta Rafael de Paz perform this bolero by Fernando Z. Maldanado (19??)<ref>[https://archive.org/details/78_voy-gritando-por-la-calle-im-sad_juan-arvizu-orq-rafael-de-paz-fernando-z-mald_gbia0021423a ''Voy Gritando por la Calle'' Single record performed by Juan Arvizu and La Orquesta Rafael de Paz on Archive.org]</ref>
* ''Ya lo Ves'' - RCA Victor (#23-1233-B) - Juan Arvizu and the Orquesta de la Radio Caracas perform this bollero with Trio Mastra (19??)<ref>[https://archive.org/details/78_ya-lo-ves_juan-arvizu-orquesta-de-la-radio-caracas-trio-mastra_gbia0021427b ''Ya no Ves'' Single record performed by Juan Arvizu and Trio Mastra on Archive.org]</ref>
* ''Yo'' - Tico (#10-059 A) - Juan Arvizu and the organist Salvador Muñoz perform this song by J. A. Jimenez (19??)<ref>[https://archive.org/details/78_yo_juan-arvizu-salvador-munoz-j-a-jimenez_gbia0021425a ''Yo'' Single record performed by Juan Arvizu and organist Salvador Muñoz on Archive.org]</ref>

==Filmography==
* ''O Grande Amor De María Grever 1954 Leg'' - Juan Arvizu as himself singing (1954)<ref>[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Grande Amor De María Grever 1954 Leg'' Biographical film of María Grever featuring Juan Arvizu in performance on Archive.org]</ref>
* ''[[When I Leave|Cuando Me Vaya]]'' - Juan Afrvizu as himself singing (1954)<ref>[https://www.imdb.com/title/tt0045662/?ref_=nm_flmg_act_1 ''Cuando Me Vaya'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>
* ''Infidelidad'' - Juan Arvizu as himself singing (1940)<ref>[https://www.imdb.com/title/tt0177863/fullcredits?ref_=tt_cl_sm#cast ''Infidelidad'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>
* ''Ahora Seremos Felices'' - Juan Arvizu as a singer (1938)<ref>[https://www.imdb.com/title/tt2191607/?ref_=ttfc_fc_tt ''Ahora Seremos Felices'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>

== See also ==
{{Portal bar|Biography|Music|Latin music|Classical music|Opera|Mexico}}

== References ==
{{reflist}}

==External links==
* [https://adp.library.ucsb.edu/index.php/mastertalent/detail/100191/Arvizu_Juan Recordings by Juan Arvizu on DAHR.org]
* [https://archive.org/search.php?query=Juan%20Arvizu Recordings of Juan Arvizu in performance on Archive.org]
* [http://frontera.library.ucla.edu/artists/juan-arviz%C3%BA Recordings of Juan Arvizu in performance - Strachwitz Frontera Collection of Mexican and Mexican American Recordings at the University of California Los Angeles on library.ucla.edu]
* [http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Enamorada'' and ''Señora tentación'' by Agustín Lara performed by Juan Arvizu and orchestra on Biblioteca Digital Hispánica - Biblioteca Nacional De Esapaña at bdh.bne.ed {{in lang|es}}]
* [http://www.todotango.com/musica/tema/2939/Plegaria/ ''Plegaria'' Recording of Juan Arvizu with orchestra singing this tango by Eduardo Bianco on todotango.com {{in lang|es}}]
* {{IMDb name}}
* [https://adp.library.ucsb.edu/names/100191 Juan Arvizu recordings] at the [[Discography of American Historical Recordings]].
{{authority control}}

{{DEFAULTSORT:Arvizu, Juan}}
[[Category:Mexican tenors]]
[[Category:Victor Records artists]]
[[Category:Columbia Records artists]]
[[Category:1900 births]]
[[Category:1985 deaths]]
[[Category:Tico Records artists]]
[[Category:People from Querétaro City]]
[[Category:20th-century Mexican male singers]]

Nestor Mesta Chayres

2024-10-04T20:32:26Z

160.72.80.178: /* External links */ ''Included an External Media link ==>performances by Nestor Mesta Chayres on DAHR.org''~~~~NHPL

{{Short description|Mexican tenor}}
{{Use American English|date = March 2019}}

{{Use mdy dates|date = March 2019}}
{{Infobox musical artist
| name = Néstor Mesta Cháyres
| image =
| image_size =
| landscape =
| alt =
| caption =
| birth_name =
| alias = Nestor Chaires
| birth_date = {{birth date|1908|02|26}}
| birth_place = [[Ciudad Lerdo]], 
{{Flag|Mexico}}
| origin =
| death_date = {{death date and age|1971|06|29|1908|02|26}}
| death_place = [[Mexico City]], Mexico
| genre = [[Opera]], [[Bolero]], [[Vocalist]]
| occupation = Lyric [[Tenor]]
| instrument =
| years_active = 1929–1970
| label =
| past_member_of = [[National Symphony Orchestra (Mexico)]], [[Philadelphia Orchestra]], [[New York Philharmonic]], [[Chicago Opera]], [[Montreal Symphony Orchestra]], [[Voice of America]], [[Juan Arvizu]], [[Alfredo Antonini]], [[Maria Grever]], [[Agustín Lara]], [[John Serry Sr.]], [[Alfonso Ortiz Tirado]]
| website = Nestor Mesta Chayres on [https://www.worldcat.org/search?q=Nestor+Chayres&qt=results_page worldcat.org] and [https://www.imdb.com/name/nm0149736/bio imdb.com]
}}
{{external media|width=285px|audio1=You may hear Nestor Mesta Chayres with [[John Serry Sr]] and the Alfredo Antonini Orchestra playing the bolero "La Morena de mi Copla" in 1946 [https://adp.library.ucsb.edu/index.php/matrix/detail/2000301762/73545-La_morena_de_mi_copla '''Here on DAHR''']}}
'''Néstor Mesta Cháyres''' (aka Nestor Chaires, [[Ciudad Lerdo]], February 26, 1908 - [[Mexico City]], June 29, 1971) was an acclaimed [[tenor]] in Mexico and a noted interpreter of Spanish songs, [[bolero]]s and Mexican romantic music on the international concert stage. He was widely commended for his artistic renditions of the works of [[Agustín Lara]] and [[María Grever]] and was nicknamed "El Gitano de México".<ref name="translate.google.com">[https://translate.google.com/translate?hl=en&sl=es&u=http://eglycolinamarinprimera.blogspot.com/2014/09/nestor-mesta-chayres-mejico.html&prev=search ''Biographies - Egly Hill Marin First - Nestor Mesta Chayres - Méjico'' Biography of Nestor Mesta Chayres by Egly Colina Marín oneglycolinamarinprimera.blogspot.com]{{in lang|es}}</ref><ref name=":0" />

== Biography ==
Néstor Mesta Cháyres was born to Florentino Mesta and Juana Cháyres in a family which included six additional children: Juanita, María Luisa, Herminia, Óscar, Jesús and Margarita in the city of Lerdo, Mexico. His initial studies in music were provided by a local teacher and an organist at the parish church. Even as a child he showed promise as an operatic singer.<ref>[https://books.google.com/books?id=pjcUAQAAIAAJ&q=Nestor+MEsta+Chayres+opera ''Nestor Mesta Chayres Biography - Chayres as a young promising operatic singer'' in "The Encyclopedia of Latin American Music in New York". Figueroa, Frank M. Pillar Publications, St. Petersburg, FL. September 1, 1994, p. 80 on https://books.google.com]</ref> In his youth, he was also known to sing to a recording of ''Caro Nome'' from [[Giuseppe Verdi]]'s opera ''[[Rigoletto]]''. While still in high school, he exhibited an exceptional vocal aptitude which earned him several awards. After the death of his father in 1925, he earned a scholarship to the [[National Conservatory of Music (Mexico)|National Conservatory of Music]] in Mexico City. His studies included instructions in music theory, harmony, counterpoint, and voice with Lambert Castañeros - who had performed at [[La Scala]] in Milan, Italy.<ref name="elsiglodetorreon.com.mx">[https://www.elsiglodetorreon.com.mx/noticia/956791.nestor-mesta-chayres.html ''El Siglo de Torréon - Néstor Mesta Cháyres'' Biography on elsiglodetorreon.com]{{in lang|es}}</ref>

Néstor's professional career began in the artistic center of the Mexican capital in 1929 performing songs of [[Jorge del Moral]] and [[Agustín Lara]] at the Bolivár Amphitheater at the National Preparatory School. Soon he achieved success on the radio station X.E.B. in Mexico City, where he continued to perform for four years. By 1933 he launched a concert tour with the pianist [[Jorge del Moral]] to Havana, Cuba where he performed the waltz ''Divina Mujer'' at various theaters. He also appeared in three gala concerts for the President of the Republic during his two-month tour on the island. After returning to Mexico City in 1934, he also recorded several songs including ''Morena'' (Jorge del Moral).<ref name="elsiglodetorreon.com.mx"/>

[[File:Bellas Artes 01.jpg|thumb|left|Palace of Fine Arts, Mexico City Bellas Artes 01]]

By the early 1940s, Cháyres had achieved extensive notoriety throughout Mexico. He soon collaborated with the [[National Symphony Orchestra (Mexico)|Sypmphony Orchestra of Mexico]] in a concert at the prestigious [[Palacio de Bellas Artes|Palace of Fine Arts]] in Mexico City in 1943. This set the stage for Néstor's debut in New York City on the radio for WABC under the direction of [[Andre Kostelanetz]] and a subsequent concert with the [[Philadelphia Orchestra]].<ref>[https://books.google.com/books?id=vAlZIlzxOsQC&dq=Nestor+Chayres+Andre+Kostelanetz&pg=PA341 ''Andre Kostelanetz On Records and On the Air - A Discography and Radio Log''] North, James A. The Scarecrow Press Inc. Lanham, UK, 2011 p. 341 {{ISBN|978-0-8108-7732-0}} Nestor Chayres performs with Andre Kostelanetz in "The Pause That Refreshes on the Air" on WABC 11/29/1943 on https://books.google.com</ref><ref>[https://books.google.com/books?id=wAwEAAAAMBAJ&dq=Nestor+Chayres+Andre+Kostelanetz&pg=PT22 ''The Billboard - In Short - Mexico City - Nestor Chayres and Andre Kostelanetz'' The Billboard, January 1, 1944 p. 23]</ref><ref>[https://www.worldcat.org/oclc/696225965 ''Music of the Two Americas - The pause that refreshes on the air'' - CBS Radio broadcasts by Andre Kostelanetz including Néstor Chayres in 1943 on worldcat.org]</ref><ref>[https://www.worldcat.org/oclc/793587502 ''On the air: plus Gypsy Songs'' - radio broadcast by Andre Kostelanetz Orchestra with Néstor Chayres and Ethel Smith (1946) on worldcat.org]</ref> As a distinguished opera vocalist, Chayres was also invited by the CBS network to collaborate with the contralto [[Tona la Negra]] and Andre Kostelanetz conducting the Mexican Symphony Orchestra in a special Easter Sunday broadcast as supervised by the OIAA ([[Office of Inter-American Affairs]]) of the United States [[Department of State]].<ref>[https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Nestor+Mesta+Chayres&pg=PA51 ''Nestor Mesta Chayres - mexican opera singer with contralto Tona La Negra, conductor Andre Kostelanetz and the Mexican Symphony Orchestra''] in "Media, Sound and Culture in Latin America and the Caribbean" Editors- Alejandra Bronfman and Andrew Grant Wood. University of Pittsburgh Press, Pittsburgh, PA, 2012, p. 51 {{ISBN|978-0-8229-6187-1}} on https://books.google.com</ref> In the early 1940s he also concertized regularly at the Havana Madrid night club in New York to the acclaim of critics.<ref>[https://books.google.com/books?id=wAwEAAAAMBAJ&dq=Nestor+Chaires&pg=PT19 ''The Billboard - Night Club Reviews - Havana Madrid New York'' - Critical review of Nestor Chaires' performance in "The Billboard" January 1, 1944 p. 20 on https://books.google.com]</ref><ref>[https://books.google.com/books?id=3xkEAAAAMBAJ&dq=Nestor+Chayres&pg=PT52 ''The Billboard - Night Club Reviews - Havana Madrid New York'' - Critical review of Nestor Chayres performance in ''The Billboard'' May 25, 1946 p. 53]</ref>

Cháyres joined the staff at the [[Columbia Broadcasting System]] (CBS Radio) in 1943 under the musical direction of [[Alfredo Antonini]] as a featured soloist on the radio program ''[[Viva América]]'' while collaborating with the accordionist [[John Serry Sr.]]<ref name="books.google.com">''Media Sound & Culture in Latin America.'' Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 ''Media Sound & Culture in Latin America''. Editors: Bronfman, Alejanda & Wood, Andrew Grant. Nestor Mesta Chayres, Alfredo Antonini, ''Viva America'' performing for CBS on https://books.google.com]</ref><ref>[https://books.google.com/books?id=AB4EAAAAMBAJ&dq=Nestor+Chayres&pg=PA106 ''Nestor Chayres - Radio Caracas ORK Victor 23-0956'' "Viva America" & Nestor Chayres in The Billboard October 30, 1948 p. 106 on https://books.google.com]</ref> and the vocalist [[Manolita Arriola]].<ref>[https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995940?adppopup=true Photograph of Nestor Chayres and Manolita Arriola on ''Viva America'' for CBS Radio in 1946]</ref> He continued to collaborate with Antonini on additional live radio broadcasts for [[Voice of America]] and the [[Department of State]]'s Office of International Broadcasting and Cultural Affairs in subsequent years.<ref>{{Citation|title=American personalities parade program no. 11: program no. 12.|publisher=Department of State, Office of International Information, International Broadcasting Division|oclc=803259289}}</ref><ref>{{Citation|title=Viva America] no. 79, no. 80: rhythms of the New World : program X-82 : program X-83.|publisher=Department of State, Office of International Information and Cultural Affairs, International Broadcasting Division|language=es|oclc=803962437}}</ref><ref>{{Citation|title=Rhythms of the New World program X-91: program X-92.|publisher=Department of State, Office of International Information and Cultural Affairs, International Broadcasting Division|language=es|oclc=803191246}}</ref><ref>{{Citation|title=Latin-American popular music series program no. 17: program no. 18.|publisher=Department of State, Office of International Information and Cultural Affairs, International Broadcasting Division|language=es|oclc=803242195}}</ref> These performances were also broadcast overseas for the benefit of the members of America's armed forces personnel during World War II <ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&dq=Nestor+Mesta+Chayres&pg=PA33 ''Nestor Mesta Chayres and records of Alfredo Antonini 1949''] on "The Directory of the Armed Forces Radio Service Series" Editor Harry Mackenzie. Greenwood Press, CT. 1999 p. 33 {{ISBN|0-313-30812-8}} on https://books.google.com</ref> In addition, they helped to introduce [[Latin American music]] and the Mexican bolero to large audiences throughout the United States during the 1940s.<ref>''Media Sound & Culture in Latin America.'' Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 ''Media Sound & Culture in Latin America''. Editors: Bronfman, Alejanda & Wood, Andrew Grant. Nestor Mesta Chayres, Alfredo Antonini, CBS Latin American music on https://books.google.com]</ref> Several recordings of [[boleros]] were also produced in collaboration with Antonini and his orchestra during this time on [[Decca Records]] including: ''Noche de Ronda'' (23770 B) and ''[[Granada (song)|Granada]]'' (23770 A).<ref>[https://archive.org/search.php?query=Nestor%20%20Chayres Archived record albums with Alfredo Antonini for Decca Records and Orchestra of the Radio Caracas, Isidor Handler for RCA Victor Records - Performances by Nestor Mesta Chayres on Archive.org]</ref> His recordings in both North and South America for [[RCA Victor]] from this period featured collaborations with the Orquesta Radio Caracas and the Orquesta Gonzalo Cervera.<ref name="AB4EAAAAMBAJ p. 106">[https://books.google.com/books?id=AB4EAAAAMBAJ&dq=Nestor+Chayres&pg=PA106 ''Nestor Chayres - Radio Caracas ORK Victor 23-0956'' Record Review of Nestor Chayres in The Billboard October 30, 1948 p. 106 on https://books.google.com]</ref><ref>{{Cite web|url=https://www.worldcat.org/search?q=Nestor+Chayres&fq=&dblist=638&qt=first_page|title=Néstor Chayres discography|website=www.worldcat.org|language=en|access-date=2019-03-26}}</ref> They included: ''Princesita'' ( # 90-0595-A), ''Todo Mi Ser'' (# 90-0595-B), ''Manolete'' (# 23-0853-A) and ''Silverio'' (#20-0853-B).<ref>[https://archive.org/search.php?query=Nestor%20%20Chayres Archived record albums with Alfredo Antonini for Decca Records and Orchestra of the Radio Caracas, Isidor Handler for RCA Victor Records - Performances by Nestor Mesta Chayres on Archive.org]</ref>

[[File:Carnegie-hall-isaac-stern.jpg|thumb|Carnegie Hall, New York City Carnegie-hall-isaac-stern]] Néstor also performed regularly on the [[NBC]] radio network during this time. He first concertized at the historic [[The Town Hall (New York City)|Town Hall]] in New York City in 1945 and returned for a repeat performance three years later.<ref>[https://books.google.com/books?id=YacaAQAAMAAJ&q=Nestor+Chayres Critical reviews of Nestor Chayres in performance at Town Hall in ''Music Reporter'' on https://books.google.com]</ref> Subsequently, he collaborated once again with Alfredo Antonini conducting the [[New York Philharmonic]] for a gala ''Night of the Americas'' concert at [[Carnegie Hall]] in 1946.<ref name=":0">{{Cite web|url=https://www.elsiglodetorreon.com.mx/noticia/956791.nestor-mesta-chayres.html|title=Biography: Néstor Mesta Cháyres|website=www.elsiglodetorreon.com.mx|publisher=El Siglo de Torréon|language=es-MX|access-date=2019-03-26}}</ref><ref>''The New York Times'' May 12, 1946 p. 42</ref><ref>{{Cite web|url=https://www.worldcat.org/search?q=au:Chayres,+Nestor.&qt=hot_author|title=Cataloged performances by Néstor Chayres|website=www.worldcat.org|language=en|access-date=2019-03-26}}</ref><ref name="books.google.com"/><ref name="Orchestra 1946">[https://archive.org/details/78_romantic-songs-of-latin-america_nestor-chayres-alfredo-antonini-and-his-concert-orc_gbia8005920/05+-+EL+RELICARIO+-+NESTOR+CHAYRES+-+Alfredo+Antonini+And+His+Concert+Orchestra.flac "Nestor Chayres Singing Romantic Songs of Latin America With Alfredo Antonini and his Concert Orchestra" (Decca, A-507, 1946) See biographical notes on album cover. on Archive.org]</ref>

Based upon these achievements, an extensive array of international concerts emerged which included an appearance with the [[Montreal Symphony Orchestra|Montreal Philharmonic Orchestra]] in Canada in 1946.<ref>[https://books.google.com/books?id=FxoEAAAAMBAJ&dq=Nestor+Chayres&pg=PT2 ''The Billboard - Montreal Plans Big Concert Season; 1st Pulls Over 10,000'' Critical review of Nestor Chayres and the Montreal Philharmonic in "The Billboard" June 29, 1946 p. 3 on https://books.google.com]</ref> While concertizing in South America he performed in Peru, Columbia, Venezuela, Chile and Argentina. He also returned to Mexico to perform for President [[Miguel Alemán Valdés]] in 1947 and was also featured in May 1947 at a reception held for President Aleman at the Waldorf-Astoria Hotel in New York City.<ref name="Orchestra 1946"/> In 1949 he joined forces with the [[Chicago Opera]] House and concertized throughout Europe in France, Sweden, Holland, Norway, Denmark, England and Spain.<ref>''[https://www.elsiglodetorreon.com.mx/noticia/956791.nestor-mesta-chayres.html Como artista de la Chicago Ópera House, en 1949, viaja por Europa en gira de conciertos por España, Francia, Holanda, Noruega, Suecia, Dinamarca e Inglaterra - i.e. Nestor Mesta Chayres joins the Chicago Opera House Co. in 1949 and concertizes in Spain, France, the Netherlands, Norway, Sweden, Denmark and England]''</ref><ref>[https://translate.google.com/translate?hl=en&sl=es&u=http://eglycolinamarinprimera.blogspot.com/2014/09/nestor-mesta-chayres-mejico.html&prev=search ''Nestor Mesta Chayres was one of the few popular artists to be represented by the office of Sol Hurok and tours countries like ...Holland, Norway, Sweden and Finland'' from "Biographies Egly Marin First - Nestor Mesta Chayres" on translate.google.com]</ref> During this time Chayres was represented by the prestigious [[impresario]] [[Sol Hurok]]<ref>[https://translate.google.com/translate?hl=en&sl=es&u=http://eglycolinamarinprimera.blogspot.com/2014/09/nestor-mesta-chayres-mejico.html&prev=search "Nestor Mesta Chayres was one of the few popular artists to be represented by the office of Sol Hurok" from "Biographies Egly Marin First - Nestor Mesta Chayres" on translate.google.com]</ref> In Madrid, he performed the ''[[Siete canciones populares españolas|Seven Songs]]'' of [[Manuel de Falla]] to great acclaim. His final tour in the United States and Canada was completed in 1950. Upon returning to Mexico City, he married his wife Peggy Satanon who "discovered" Cháyres during a recital at the Palace of Fine Arts.<ref name=":0" />

In 1951, Néstor's artistic career was interrupted by the tragic death of his mother in an automobile accident. Cháyres suspended his concert appearances for over ten years but did appear in the movie ''[[Cuando me vaya]]'' in 1954 in collaboration with the such as actors as [[Libertad Lamarque]], [[Miguel Torruco]], [[Julián de Meriche]] and fellow vocalists [[Juan Arvizu]] and [[Alfonso Ortiz Tirado]].<ref>{{Cite web|url=http://www.imdb.com/name/nm0149736/|title=Néstor Chaires|website=IMDb|access-date=2019-03-26}}</ref><ref>{{Citation|title=Cuando me vaya|url=https://www.imdb.com/title/tt0045662/|work=Internet Movie Database|access-date=2019-03-26}}</ref><ref name="archive.org">[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Gande Amor De maria Grever'' - ''Cuando me Vaya'' - featuring Néstor Chayres - see opening crdits on archive.org]</ref> This film biography of the Mexican songwriter [[María Grever]] earned two [[Ariel Award]]s in Mexico in 1955.<ref>[https://www.imdb.com/title/tt0045662/awards?ref_=tt_awd ''Cuando me vaya'' - Awards on imdb.com]</ref> He returned to television in 1968 for an appearance in the ''[[Paco Malgesto]] Hour'' and in 1969 on ''The Golden Hour of the W''. His final appearance on television occurred in 1970 on the show ''24 Hours''.<ref name="elsiglodetorreon.com.mx"/>

=== Performance style ===
{{ external media|float=left|width=200px|image1=Photograph of Nestor Chayres for "Viva America" on CBS Radio in 1946 [https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995940?adppopup=true '''Here on Getty images''']|image2=Photograph of Nestor Chayres and Manolita Arriola for "Viva America" on CBS Radio in 1946 [https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905998882?adppopup=true '''Here on Getty Images''']}}

During the course of his professional career, critics in ''[[Billboard (magazine)|Billboard]]'' magazine applauded Néstor Mesta Cháyres for a powerful, exciting and dramatic delivery which pleased his audiences.<ref>[https://books.google.com/books?id=wAwEAAAAMBAJ&dq=Nestor+Chaires&pg=PT19 ''The Billboard - Night Club Reviews - Havana-Madrid, New York'' A Critical Review of Chaires in "The Billboard" January 1, 1944 p. 20]</ref><ref>[https://books.google.com/books?id=3xkEAAAAMBAJ&dq=Nestor+Chayres&pg=PT52 ''The Billboard - Night Club Reviews - Havana Madrid New York'' - Critical review of Nestor Chaires' performance in "The Billboard" May 25, 1946 p. 53 on https://books.google.com]</ref> He was also commended for the warmth and tenderness of his renditions.<ref name="SwwEAAAAMBAJ p. 30">[https://books.google.com/books?id=SwwEAAAAMBAJ&dq=Nestor+Chayres&pg=PT29 ''The Billboard'' - Record Reviews - Nestor Chayres - (Victor 90-0595) May 24, 1947 p. 30 ''Princesita'' Record album reviewed in Billboard on https://books.google.com]</ref> Critics also took note of his fine and full tenor voice and his capacity to interpret Mexican-gypsy folk melodies with fire and passion.<ref name="VgwEAAAAMBAJ p. 130">[https://books.google.com/books?id=VgwEAAAAMBAJ&dq=Nestor+Chayres&pg=PA130 ''The Billboard - Album Reviews - Nestor Chayres - Romantic Songs of Latin America'' Record album review in The Billboard - Alfredo Antonini conducting the Orchestra - Tenor Nestor Chayres - July 19, 1947 p. 130 on https://books.google.com]</ref><ref name="AB4EAAAAMBAJ p. 106"/> His powerful voice and expansive vocal range could even be heard outside the theater and often moved his audiences to tears.<ref>{{Cite book|url=https://books.google.com/books?id=XsNbAAAAMAAJ&q=Nestor+MEsta+Chayres|title=Bolero: Historia Documental del Bolero Mexicano|date=1993|publisher=Asociación Mexicana de Estudios Fonográficos|isbn=9789686950038|language=es}}</ref>

Néstor Mesta Cháyres' artistic interpretations of such songs as ''Murcia'', ''Toledo'', ''Clavel Sevilliano'', ''[[Granada (song)|Granda]]'' and the ''Suite Español'' by [[Agustín Lara]] earned him the beloved title - "El Gitano de Mexico" ("The Gyspy of Mexico").<ref>{{Citation|title=El Gitano de México Nestor Chayres canta a Agustín Lara y María Grever|date=2001|publisher=Blue Moon|language=es|oclc=806502602}} (Sound recording)</ref> He was often compared favorably to the outstanding lyric tenors of his time including: [[Juan Arvizu]], Luise G. Roldán and [[Alfonso Ortiz Tirado]] and [[Tito Schipa]].<ref name=":0" /><ref>[https://books.google.com/books?id=VgwEAAAAMBAJ&dq=Nestor+Chayres&pg=PA130 ''Album Reviews - Nestor Chayres - Romantic Songs of Latin America (Decca A-507)'' The Billboard, July 19, 1947 p. 130 on https://books.google.com]</ref><ref name="translate.google.com"/>

=== Death ===

Néstor Mesta Cháyres passed away during 1971 in Mexico City after suffering a heart attack at the age of 63. His musical legacy includes an extensive collection of recordings of the works of [[Agustín Lara]] and [[María Grever]].<ref>{{Cite web|url=https://www.worldcat.org/search?qt=worldcat_org_all&q=Nestor+Chayres|title=Nėstor Cháyres record albums cataloged|website=www.worldcat.org|language=en|access-date=2019-03-26}}</ref>

== Discography ==
===Albums===
* ''Nestor Chaires'' - RCA de Venezuela - Néstor Cháyres performing in Caracas, Venezuela (1965?)<ref>[https://www.worldcat.org/oclc/844080926 Record album ''Nestor Chaires'' cataloged on Worldcat.org]</ref> List of musical selections: ''Somos Differentes'', ''Hoy No Quisiera Vivir'', ''Rocio'', ''Por Eso Si Te Digo'', ''Asi'', ''No Espero Nada de Ti''
* ''Nestor Chayres Canta'' - SMC-Proarte - Néstor Cháyres with the Alfredo Mendez Orchestra performing songs by Agustín Lara (196?)<ref>[https://www.worldcat.org/oclc/9150903 ''Nestor Chayres Canta'' Record Album - Nestor Chayres performs songs of Agustín Lara with the Alfredo Mendez Orchestra on worldcat.org]</ref> List of musical selections: ''Arráncame la Vida'' - Agustín Lara, ''Farolito'' - Agustín Lara, ''Santa'' - Agustín Lara, ''Pregon de las Flores'' - Agustín Lara, ''Mirame'' - Agustín Lara, ''Mi Rival'' - Agustín Lara, ''Españolerias'' - Agustín Lara, ''Piensa En Mi'' - Agutín Lara
* ''Nestor Chayres - Romantic Songs of Latin America'' - Decca Records (catalogue # A 507) - Néstor Cháyres with the Alfredo Antonini Orchestra (1947,1950)<ref>[https://www.worldcat.org/oclc/49699654 ''Nestor Chayres singing romantic songs of Latin America'' on worldcat.org]</ref><ref name="VgwEAAAAMBAJ p. 130"/> List of musical selections: ''La Morena de mi Copla'' - Carlos Castellano Gómez, ''Lamento Gitano'' - [[María Grever]], ''[[Granada (song)|Granada]]'' - [[Agustín Lara]], ''Noche de Ronda'' - Agustín Lara, ''El Relicario''- [[José Padilla (composer)|José Padilla Sanchez]], ''Oración Caribe'' - Agustín Lara, ''Princesita'' - José Padilla Sanchez, ''Ay, Ay, Ay'' - [[Osmán Pérez Freire]]
* ''Seven Spanish Folk Songs'' - Kingsway - Néstor Cháyres with the pianist Fritz Kramer performing music by Manuel de Falla (195?)<ref>[https://www.worldcat.org/oclc/54909089 ''Seven Spanish Folk Songs'' Record Album - Néstor Cháyres with pianist Fritz Kramer performing songs by Manuel de Falla on Worldcat.org]</ref> List of musical selections: ''El Paño Moruno'' - [[Manuel de Falla]], ''Seguidilla Murciano'' - Manuel de Falla, ''Asturiana'' - Manuel de Falla, ''Jota'' - Manuel de Falla, ''Nana'' - Manuel de Falla, ''Cancion'' - Manuel de Falla, ''Polo'' - Manuel de Falla, ''Mi Pobre Reja'' - Spanish folk song, ''Del Cabello mas Sutil'' - Spanish fok song, ''La Partida'' - Spanish folk song, ''Copla'' - Spanish folk song, ''Clavelitos'' - Spanish folk song, ''Mi Maja'' - Spanish folk song, ''A Granada'' - Spanish folk song, ''Hableme de Amores'' - Spanish folk song, ''Grandinas'' - Spanish folk songs

===Singles===
{{external media |width=200px|audio1 = You may listen to Néstor Mesta Cháyres performing "Campanitas en mi Alma" with the Henri Rene Orchestra in 1949 [https://adp.library.ucsb.edu/index.php/matrix/detail/300013468/D9XB-0987-Campanitas_en_mi_alma'''Here on DAHR''']}}
* ''Alma Mia'' - RCA Victor (Catalogue # 23-1232-B) Nestor Chayres and the Orquesta de Henri Rene perform the song by Maria Grever (19??)<ref>[https://www.worldcat.org/oclc/82713097 ''Alma Mia'' by Maria Grever as performed by Nestor Chayres and Orquesta de Henri Rene on Worldcat.org]</ref>
* ''Buenas Noches Mi Amor'' - Néstor Cháyres y El Trio del Mar - Néstor Cháyres performs song with a chorus and orchestra.<ref>[https://archive.org/search.php?query=Nestor%20Chayres ''Buenas Noches Mi Amor'' performed by Néstor Mesta Cháyres and El Trio del Mar on archive.org]</ref><ref>[https://archive.org/download/BuenasNochesMiAmor/BuenasNochesMiAmor.ogg Néstor Cháyres performs on us.archive.org]</ref>
* ''Cara Piccina'' - Victor (Catalogue # 25-7092-B) Nestor Chayres and orchestra perform the song (19??)<ref>[https://www.worldcat.org/oclc/79750212 ''Cara Piccina'' performed by Nestor Chayres on worldcat.org]</ref>
* ''Cuando Vuelva A Tu Lado'' - Néstor Mesta Cháyres performs this song by [[María Grever]] with organ, piano and orchestra<ref>[https://archive.org/search.php?query=Nestor%20Chayres ''Cuando Vuelva A Tu Lado'' performed by Néstor Cháyres on archive.org]</ref><ref>[https://archive.org/details/CuandoVuelvaATuLado_801 ''Cuando Vuelva A Tu Lado'' as performed by Nestor Mesta Chaires on archive.org]</ref>
* ''El Relicario'' - Decca (Catalogue # 50017 A) - Nestor Chayres and the Alfredo Antonini Orchestra perform the song by Jose Padilla Sanches (19??)<ref>[https://www.worldcat.org/oclc/80317502 ''El Relicario'' by Jose Padilla as performed by Nestor Chayres and the Alfredo Antonini Orchestra on worldcat.org]</ref>
* ''Gitanillo'' - Victor (catalogue # 23-1379) - Nestor Chayres performs the Paso Doble song (1949)<ref>[https://books.google.com/books?id=NA4EAAAAMBAJ&dq=Nestor+Chayres&pg=PT115 ''The Billboard - Record Reviews- Latin America - Nestor Chayres - "Gitanillo" (Paso Doble)'' - ''Gitanillo'' Record album reviewed in The Billboard November 12, 1949 p. 116 on https://books.google.com]</ref>
* ''[[Granada (song)|Granada]]'' - Decca (Catalogue # 23770 A) - Néstor Cháyres and the Alfredo Antonini Orchestra performs song by Agustín Lara (1946)<ref>[https://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a ''Granada - Nestor Chayres - Agustin Lara - Alfredo Antonini'' - Record album ''Granada'' by Agustín Lara as performed by Néstor Cháyres and the Alfredo Antonini Orcheatra on Archive.org]</ref>
* ''Hoy No Quisiera Vivir'' - Victor (Catalogue # 23-0956-A) Nestor Chayres and La Orquesta de La Radio Caracas perform this song by Avelino Munez (19??)<ref>[https://www.worldcat.org/oclc/84370332 ''Hoy No Quisiera Vivir'' by Avelino Munez - as performed by Nestor Chayres and La Qrquesta Radio Caracas on worldcat.org]</ref>
* ''Hoy No Quisiera Vivir''- Victor (Catalogue # 23-0956) - Nestor Chayres performs the bolero with the Radio Caracas Orchestra (1948)<ref name="ReferenceA">[https://books.google.com/books?id=AB4EAAAAMBAJ&dq=Nestor+Chayres&pg=PA106 ''The Billboard - Record Reviews - Nestor Chayres - Radio Caracas ORk (Victor 23-0956)'' Record album review of Nestor Chayres in ''The Billboard'' October 30, 1948 p. 106]</ref>
* ''La Guapa'' - RCA Victor (Catalogue # 23-1349-A) Nestor Chayres and Orquesta Gonzalo Cervera perform a paso doble by Luis Arcaraz (19??)<ref>[https://www.worldcat.org/oclc/80000827 ''La Guapa'' by Luis Arcaraz performed by Nestor Chayres and Orquesta Gonzolo Cervera on worldvat.org]</ref>
* ''La Morena De Me Copla'' - Decca (Catalogue # 50015 A) - Nestor Chayres and the Alfredo Antonini Orchesatra perform the song by Carlos Castellano ( 19??)<ref>[https://www.worldcat.org/oclc/78289577 ''La Morena De me Copla'' by Carlos Castellano as performed by Nestor Chayres and the Alfredo Antonini Orchestra on worldcat.org]</ref>
* ''La Vida Castiga'' - Victor (Catalogue # 23-0787-B) Nestor Chayres and orchestra perform the song by A. Mucieste (19??)<ref>[https://www.worldcat.org/oclc/80747130 ''La Vida Castiga''by A. Mucieste as performed by Nestor Chayres and orchestra on worldcat.org]</ref>
{{ external media |width=200px|audio1 = You may listen to Néstor Mesta Cháyres performing "Lamento Gitano" with John Serry Sr. and the Alfredo Antonini Orchestra in 1946 [https://adp.library.ucsb.edu/index.php/matrix/detail/2000301745/73528-Lamento_gitano '''Here on DAHR''']}}
* ''Lamento Gitano'' - Decca (Catalogue # 50015) - Nestor Chayres and the Alfredo Antonini Orchestra (195?)<ref>[https://www.worldcat.org/oclc/81360596 ''Lamento Gitano'' performed by Nestor Chayres and the Alfredo Antonini Orchestra on worldcat.org]</ref>
* ''Libreme Dios'' - Victor (Catalog #23-1027) - Nestor Chayres performs the bolero - Record review (1949)<ref name="OPYDAAAAMBAJ 1027 p. 118">[https://books.google.com/books?id=OPYDAAAAMBAJ&dq=Nestor+Chayres&pg=PA118 ''The Billboard - Record Reviews - Latin American - Nestor Chayres (Victor 23-1027)'' - Record review in "The Billboard" February 26, 1949 p. 118 on https://books.google.com]</ref>
* ''Macarenas'' - RCA Victor (Catalogue # 23-5347-A) - Nestor Chayres and the Vier Fidazzini Orchestra performing the bolero (19??)<ref>[https://www.worldcat.org/oclc/79146922 ''Macarena'' performed by Nestor Chayres and the Fidazzini Orchestra on worldcat.org]</ref>
* ''Manolete'' - RCA Victor (Catalogue # 23-0853-A) - Néstor Cháyres and Orchestra Radio Caracas performs song (Paso Doble) by Manuel Álvarez Maciste (194?)<ref>[https://archive.org/details/78_manolete_nestor-chayres-orquesta-de-la-radio-caracas-manuel-alvarez-maciste_gbia0020720a ''Manolete - Nestor Chayres - Orquesta de la Radio Caracas - Manuel Álvarez Maciste'' - Record Album ''Manolete'' on Archive.org]</ref>
* ''Mucho Mas'' - Victor (Catalog #23-1027) - Nestor Chayres performs the rumba bolero by María Grever - Record review (1949)<ref name="OPYDAAAAMBAJ 1027 p. 118"/>
* ''Ni de Día, Ni de Noche'' - Barcelona Company of Gramophone Odeon (# OKA 1526) - Néstor Cháyres performs song by [[María Grever]] with orchestra (1950) <ref>
[http://bdh.bne.es/bnesearch/biblioteca/Noche%20de%20mar%20%20%20%20:%20%20%20%20%20bolero%20%20%20/qls/Reyna,%20Jos%C3%A9%20(1908%201974)/qls/bdh0000009406;jsessionid=E5BAC3DFE1AFAC20207E2EED3C7A45F7 ''Biblioteca Digital Hispánica - Biblioteca Nacional De España - Ni de Día, Ni de Noche - Néstor Chayres y orquesta'' Néstor Cháyres performing ''Ni de Día, Ni de Noche'' - María Grever, on the National Library of Spain Digital Catalog on bdh.bne.es]{{in lang|es}}</ref>
* ''No Espero Nada De Ti'' - Victor (Catalogue # 23-1315-B) Nestor Chayres sings this beguine by Maria Grever.(19??)<ref>[https://www.worldcat.org/oclc/82500847 ''No Espero Nada De Ti'' by Maria Grever as performed by Nestor Chayres on worldcat.org]</ref>
* ''No Te Vayas'' - Victor (Catalogue # 23-0899) - Record review - Nestor Chayres performs the balad with the Radio Caracas Orchestra (1948)<ref name="EAAAAMBAJ p. 108">[https://books.google.com/books?id=9x0EAAAAMBAJ&dq=Nestor+Chayres&pg=PA108 ''The Billboard - Record Reviews - Nestor Chayres - Radio Caracas Ork (Victor 23-0899)'' Record album review of Nestor Chayres in ''The Billboard'' September 4, 1948 p. 108 on https://books.google.com]</ref>
* ''Noche de Mar'' - Barcelona Company of Gramophone Odeon (Catalogue # OKA 1525) - Néstor Cháyres performs song by José Reyna with orchestra (1950) <ref>
[http://bdh.bne.es/bnesearch/biblioteca/Noche%20de%20mar%20%20%20%20:%20%20%20%20%20bolero%20%20%20/qls/Reyna,%20Jos%C3%A9%20(1908%201974)/qls/bdh0000009406;jsessionid=E5BAC3DFE1AFAC20207E2EED3C7A45F7 ''Biblioteca Digital Hispánica - Biblioteca Nacional De España - Noche de Mar - Néstor Chayres y orquesta'' Néstor Cháyres performing ''Noche de Mar'' - José Reyna, on the National Library of Spain Digital Catalog on bdh.bne.es]{{in lang|es}}</ref>
* ''[[Noche de ronda|Noche de Ronda]]'' - Decca (Catalogue # 23770 B) - Néstor Cháyres and the Alfredo Antonini Orchestra performs song by Agustín Lara (1946)<ref>[https://archive.org/details/78_noche-de-ronda_nestor-chayres-maria-teresa-lara-alfredo-antonini_gbia0021459b''Noche de Ronda - Maria Teresa Lara/Agustín Lara - Néstor Cháyres and the Alfredo Antonini Orchestra'' - Record album ''Noche de Ronda'' by Agustin Lara performed by Nestor Chayres and Alfredo Antonini Orchestra on Archive.org]</ref>
* ''Oracion Caribe'' - Decca (Catalogue # 50017) - Nestor Chayres and the Alfredo Antonini Orchestra perform the song by Agustín Lara (19??)<ref>[https://www.worldcat.org/oclc/79008668 ''Oracion Caribe'' by Agustín Lara as performed by Nestor Chyares and the Alfredo Antonini Orchestra on worldcat.org]</ref>
{{external media |width=200px|audio1 = You may listen to Néstor Mesta Cháyres performing "Por Eso Si Te Digo" with La Orquesta de La Radio Caracas in 1946 [https://adp.library.ucsb.edu/index.php/matrix/detail/300012113/VE-244-Por_eso_s_te_digo '''Here on DAHR''']}}
* ''Pobre Corazon'' - Victor (Catalogue # 23-0899) - Record review - Nestor Chayres performs the bolero with the Radio Caracas Orchestra (1948)<ref name="EAAAAMBAJ p. 108"/>
* ''Por Eso Si Te Digo'' - Victor (Catalogue # 23-0956) - Record review - Nestor Chayres performs the bolero with the Radio Caracas Orchestra (1948)<ref name="ReferenceA"/>
* ''Por Eso Si Te Digo'' - Victor (Catalogue # 23-0956-B) Nestor Chayres and La Orquesta de La Radio Caracas perform this song by Lois Blou (19??)<ref>[https://www.worldcat.org/oclc/79159115 ''Por Eso Si Te Digo''by Lois Blou as performed by Nestor Chayres and La Orquesta de La Radio Caracas on worldcat.org]</ref>
* ''Porque Te Quiero'' - RCA Victor (Catalogue # 23-1349-B) Nestor Chayres and La Orquesta Gonzalo Cervera perform this paso doble (19??)<ref>[https://www.worldcat.org/oclc/80580622 ''Porque Te Quiero'' performed by Nestor Chayres and La Orquesta Gonzalo Cervera on worldcat.org]</ref>
* ''Princesita '' - RCA Victor (Catalogue # 90-0595-A) - Néstor Cháyres and Isidor Handler Orchestra performs song by M. E. Palomero (1947)<ref>[https://archive.org/details/78_princesita_nestor-chayres-m-e-palomero-isidor-handler-y-su-orquesta_gbia0021458a ''Princesita - Nestor Chayres - M. E. Palomero - Isidor Handler y su Orquesta'' - Record Album ''Princesita'' on Archive.org]</ref><ref name="SwwEAAAAMBAJ p. 30"/>
* ''Qué Me Importa'' - Barcelona Company of Gramophone Odeon (# OKA 1527) - Néstor Cháyres performs song by Mario Fernández Porta with orchestra (1949)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?text=&showYearItems=&exact=&textH=&advanced=&completeText=&autor=Chayres%2c+N%C3%A9stor&pageSize=1&pageSizeAbrv=30&pageNumber=2 Digital Hispánica - Biblioteca Nacional De España - ''Qué Me Importa - Néstor Chayres y orquesta'' Néstor Cháyres performing ''Qué Me Importa'' - Mario Fernàandez Porta, on the National Library of Spain Digital Catalog at bdh.bne.es]{{in lang|es}}</ref>
* ''Rayito De Luna'' - RCA Victor (Catalogue # 23-1232-A) Nestor Chayres and Orquesta De Henri Rene perform this song by Chucho Navarro (19??)<ref>[https://www.worldcat.org/oclc/80206472 ''Rayito De Luna'' by Chucho Navarro - as performed by Nestor Chayres and Orquesta De Henri Rene on worldcat.org]</ref>
* ''Rocio'' - Victor (Catalogue # 23-1379) - Nestor Chayres performs the Paso Doble song (1949)<ref>[https://books.google.com/books?id=NA4EAAAAMBAJ&dq=Nestor+Chayres&pg=PT115 ''The Billboard - Record Reviews- Latin America - Nestor Chayres - "Rocio" (Paso Doble)'' - ''Rocio'' Record album reviewed in The Billboard November 12, 1949 p. 116 on https://books.google.com]</ref>
* ''Silverio'' - Barcelona Company of Gramophone Odeon (Catalogue # OKA 1528) - Néstor Cháyres performs song by [[Agustín Lara]] with orchestra (1949)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?text=&showYearItems=&exact=&textH=&advanced=&completeText=&autor=Chayres%2c+N%C3%A9stor&pageSize=1&pageSizeAbrv=30&pageNumber=2 ''Biblioteca Digital Hispánica - Biblioteca Nacional De España - Silverio - Néstor Chayres y orquesta'' Néstor Cháyres performing '' Silverio'' - Agustin Lara, on the National Library of Spain Digital Catalog at bdh.bne.es]{{in lang|es}}</ref>
* ''Silverio'' - RCA Victor (Catalogue # 23-0853-B) - Néstor Cháyres with the Orchestra Radio Caracas performs song (Paso Doble) by Agustín Lara (194?)<ref>[https://archive.org/details/78_silverio_nestor-chayres-orquesta-de-la-radio-caracas-agustin-lara_gbia0020720b ''Silverio - Nestor Chayres - Orquesta de la Radio Caracas - Agustín Lara'' - Record Album ''Silverio'' on Archive.org]</ref>
* ''Te Espero'' - Victor (Catalogue # 90-0599-B) - Nestor Chayres and Orchestra performing this song (19??)<ref>[https://www.worldcat.org/oclc/79813150 ''Te Espero'' performed by Nestor Chayres on worldcat.org]</ref>
* ''Todo Mi Ser'' - RCA Victor (Catalogue # 90-0595-B) - Néstor Cháyres and Isidor Handler Orchestra performs song (Bolero) by María Grever (1947)<ref>[https://archive.org/details/78_todo-mi-ser_nestor-chayres-maria-grever-isidor-handler-y-su-orquesta_gbia0021458b ''Todo Mi Ser - Nestor Chayres - Maria Grever - Accompaniment by the - Isidor Handler y su Orquesta'' - Record Album ''Todo Mi Ser'' on Archive.org]</ref><ref>[https://books.google.com/books?id=SwwEAAAAMBAJ&dq=Nestor+Chayres&pg=PT29 ''The Billboard - Record Reviews - Nestor Chayres - (Victor 90=0595)'' May 24, 1947 p. 30 ''Todo Mi Ser'' Record Album reviewed in Billboard on https://books.google.com]</ref>

== Filmography ==

* ''[[Cuando me vaya]]'' (1954) - Néstor Chaires as himself<ref>[https://www.imdb.com/name/nm0149736/?ref_=nv_sr_1 Néstor Chaires on imdb.com]</ref><ref>[https://www.imdb.com/title/tt0045662/?ref_=nm_knf_t1 ''Cuando Me Vaya'' on imdb.com]</ref><ref name="archive.org"/>
* ''O Grande Amor De María Grever 1954 Leg'' - Néstor Chayres as himself in performance<ref>[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Grande Amor De María Grever 1954 Leg'' Biographical film of María Grever featuring a performance by Nestor Mesta Chayres]</ref>

== Bibliography ==
* ''Enciclopèdia Espasa'' - Annual supplements 1971-72, pages 215-16 ({{ISBN|84-239-4600-2}})
* ''Media Sound & Culture in Latin America.'' Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}}
* ''Encyclopedia of Latin American Music in New York'' Figueroa, Frank M. Pillar Publications, September 1, 1994 p. 80<ref>[https://books.google.com/books?id=pjcUAQAAIAAJ&q=Nestor+Chayres Néstor Chayres Biography on https://books.google.com]</ref>

== See also ==
{{Portal bar |Biography|Music|Latin music|Classical music|Opera|Mexico}}

== References ==
{{reflist}}

== External links ==
* [https://www.worldcat.org/search?q=au%3AChayres%2C+Nestor.&qt=hot_author Cataloged performances by Nestor Mesta Chayres on Worldcat.org]
*[https://adp.library.ucsb.edu/index.php/mastertalent/detail/308233/Chayres_Nstor Archived record albums - Performances by Nestor Mesta Chayres on DAHR]
* [https://archive.org/search.php?query=Nestor%20%20Chayres Archived record albums - Performances by Nestor Mesta Chayres on Archive.org]
* [http://frontera.library.ucla.edu/frontera-search?keywords=Nestor+Chayres Archived albums - ''Nestor Chayres and Orchestra'' at the University of California Los Angeles Library - Strachwitz Frontera Collection of Mexican and Mexican American Recordings on Frontera.library.ucla.edu]
* [http://bdh.bne.es/bnesearch/CompleteSearch.do?numfields=1&field1=autor&showYearItems=&visor=&field1val=%22Chayres%2c+N%c3%a9stor%22&advanced=true&field1Op=AND&exact=on&textH=&completeText=&text=&pageSizeAbrv=30&pageSize=1&pageSizeAbrv=30&pageNumber=2 Néstor Cháyres performing ''Silverio'' - Agustín Lara on the National Library of Spain Digital Catalog - Digital Hispánica - Biblioteca Nacional De España - Qué Me Importa - Néstor Chayres y orquesta at bdh.bne.es]{{in lang|es}}
*[http://bdh.bne.es/bnesearch/CompleteSearch.do?visor=&text=&field1val=%22Chayres%2c+N%c3%a9stor%22&showYearItems=&field1Op=AND&numfields=1&exact=on&textH=&advanced=true&field1=autor&completeText=&pageSizeAbrv=30&pageSize=1&pageSizeAbrv=30&pageNumber=1 Néstor Cháyres performing ''Noche de Mar'' - José Reyna on the National Library of Spain Digital Catalog - Digital Hispánica - Biblioteca Digital Hispánica - Biblioteca Nacional De España - Noche de Mar - Néstor Chayres y orquesta on bdh.bne.es]{{in lang|es}}

{{Authority control}}

{{DEFAULTSORT:Cháyres, Néstor Mesta}}
[[Category:1908 births]]
[[Category:1971 deaths]]
[[Category:Victor Records artists]]
[[Category:Mexican tenors]]
[[Category:20th-century Mexican male singers]]

Alfredo Antonini

2024-10-03T23:28:18Z

160.72.80.178: /* Discography */ ''Removed dead External Media link''~~~~NHPL

{{Short description|Italian-American conductor}}
{{Infobox person
|image=
|caption=
|birth_name=Alfredo Antonini
|birth_place=[[Alessandria]], [[Kingdom of Italy]]{{Flag|Italy}}
|birth_date={{birth date|1901|5|31}}
|death_date={{death date and age|1983|11|3|1901|5|31}}
|occupation= Conductor, Composer, Musical Director
|years_active = 1921–1977
|awards = [[Emmy Award]] [[Order of Merit of the Italian Republic]]
|spouse= Alexandra Catherine Pasimeni (m. 1948)
}}
'''Alfredo Antonini''' (May 31, 1901 – November 3, 1983) was a leading Italian-American symphony conductor and [[composer]] who was active on the international concert stage as well as on the [[CBS]] radio and television networks from the 1930s through the early 1970s.<ref>''The New York Times'', July 2, 1948, pg. 24{{title missing}}</ref><ref>''The New York Times'', October 5, 1948, pg. 30{{title missing}}</ref><ref>''The New York Times'', April 25, 1957, pg. 34{{title missing}}</ref><ref>''The New York Times'', February 12, 1960, pg. 22{{title missing}}</ref> In 1972 he received an [[Emmy Award]] for Outstanding Achievement in Religious Programming on television for his conducting of the premiere of [[Ezra Laderman]]'s opera ''And David Wept'' for CBS television during 1971.<ref name="central">{{cite web|url=http://www.cpanda.org/pdfs/csob/csob/2502.pdf|title=Obituaries: Conductor Alfredo Antonini|work=Central Opera Service Bulletin, Vol. 25, No. 2|date=Winter–Spring 1984|access-date=2010-09-27|archive-date=2011-07-26|archive-url=https://web.archive.org/web/20110726105954/http://www.cpanda.org/pdfs/csob/csob/2502.pdf|url-status=dead}}</ref><ref name="TCUTBQAAQBAJ p. 394">[https://books.google.com/books?id=TCUTBQAAQBAJ&dq=Alfredo+Antonini+Emmy+Award&pg=PA394 ''Entertainment Awards''] Don Franks. McFarland and Co., London, 2005 p. 394 {{ISBN|0-7864-1798-6}} ''Emmy Awards 1972 Outstanding Achievement in Religious Programming - Alfredo Antonini'' on https://books.google.com</ref> In addition, he was awarded the [[Order of Merit of the Italian Republic]] in 1980 <ref>{{Cite web|url=https://www.quirinale.it/onorificenze/insigniti/249852|title=Le onorificenze della Repubblica Italiana|website=www.quirinale.it}}</ref><ref name="Italian maestro dies during surgery">{{cite news |id={{ProQuest|387196129}} |title=Italian maestro dies during surgery |newspaper=The Globe and Mail |date=5 November 1983 |page=E.5 }}</ref>

== Biography ==
Antonini was born in [[Alessandria]] and pursued his musical studies at the [[Milan Conservatory|Royal Conservatory]] in Milan.<ref>{{cite web |title=Alfredo Antonini profile |url=https://www.allmusic.com/artist/alfredo-antonini-mn0002170846 |website=allmusic.com |language=en}}</ref><ref name="HeBu">{{cite web|url=https://www.hebu-music.com/en/musician/alfredo-antonini.7791/|title= Alfredo Antonini profile|publisher=HeBu|accessdate=30 March 2021|language=German}}</ref> He was a student of the Italian conductor [[Arturo Toscanini]], whom he first met at the age of thirteen while performing on the celesta in the Italian premier of Igor Stravinsky's ''[[Petrouchka]]''.<ref>[https://www.nypl.org/research/research-catalog/bib/b16843391 New York Public Library Research Catalogue: "Interview With Alfredo Antonini" Grauer, Ben. 10 June 1963 Alfredo Antonini on nypl.org/research-catalog]</ref> He distinguished himself as both an organist and pianist with [[La Scala]] Orchestra in Milan prior to emigrating to the United States in 1929.<ref>''Latin American Music - Alfredo Antonini and Viva America orchestra''. H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, pp. 6-7 [https://archive.org/stream/TNR14/The%20New%20Records%20Vol%2014#page/n77/mode/2up/search/Alfredo+Antonini ''Latin American Music - Alfredo Antonini and Viva America Orchestra'' critical review of the album and brief biography of Antonini in ''The New Records'', pp. 6–7 on archive.org]. Accessed 29 December 2022.</ref><ref name="Alfredo Antonini, 82 NYT 5Nov1983">{{cite news |title=Alfredo Antonini, 82; Led CBS Symphony |url=https://www.nytimes.com/1983/11/05/obituaries/no-headline-019832.html |work=The New York Times |date=5 November 1983 }}</ref> His musical talents were shared by his father who served as a member of the [[Buenos Aires Opera]] company at the [[Teatro Colón]] after leaving Italy for Argentina.<ref>[https://archive.org/details/TNR14/page/n77/mode/2up?view=theater&q=Alfredo+Antonini The New Records: Latin American Music Review, October 1946, p. 7]. Accessed 29 December 2022.</ref> In addition, his wife Sandra was a both a piano accompanist and voice teacher.<ref>[https://books.google.com/books?id=TGpQAAAAIBAJ&dq=Alfredo+Antonini&pg=PA54&article_id=4104,2912246 ''Alfredo, Sandra Antonini to give concert as gift to community'']
''St. Petersburg Times'', April 19, 1980 p. 54 on Google Books]</ref>

During the 1940s, he distinguished himself as a conductor of several leading orchestras while performing on [[CBS Radio]]. These included: the CBS Pan American Orchestra (1940–1949), as part of the [[cultural diplomacy]] initiative of the [[Department of State]] and the [[Office of the Coordinator of Inter-American Affairs]] during [[World War II]], the Columbia Concert Orchestra (1940–1949) and the [[CBS Symphony Orchestra]].<ref>Media Sound & Culture in Latin America & the Caribbean (eds. Bronfman, Alejandra & Wood, Andrew Grant). University of Pittsburgh Press, [[Pittsburgh, Pennsylvania|Pittsburgh, PA]], USA, 2012, pp. 48-49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Alfredo Antonini & The CBS Pan American Orchestra (see pp. 48-49)], books.google.com. Accessed 29 December 2022.</ref><ref>{{cite book|last=Anthony|first=Edwin D.|title=Records of the Office of Inter-American Affairs|volume=Inventory of Record Group 229|publisher=National Archives and Record Services - General Services Administration|location=Washington D.C.|year=1973|pages=1–8, 25–26|lccn=73-600146 |chapter-url=https://www.archives.gov/files/research/foreign-policy/related-records/rg-229-inter-american-affairs.pdf#page=33|chapter=Records of the Radio Division}}</ref> During the 1940s Antonini also led the [[Columbia Symphony Orchestra|CBS Symphony]] Orchestra in several recordings for the Voice of America broadcasting service.<ref name="auto1">{{Cite web|url=https://archives.nypl.org/search/rha/20484?q=CBS+Symphony+Alfredo+Antonini|title=archives.nypl.org -- Search results|website=archives.nypl.org}}</ref>

His performances with the CBS Pan American Orchestra were noteworthy for helping to introduce [[Latin American music]] and the Mexican [[bolero]] to large audiences in the United States.<ref>''Media Sound & Culture in Latin America & the Caribbean'' (eds. Bronfman, Alejandra & Wood, Andrew Grant). University of Pittsburgh Press, [[Pittsburgh, Pennsylvania]], USA, 2012, p. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Alfredo Antonini, CBS Pan American Orchestra Latin American Music], books.google.com. Accessed 29 December 2022.</ref>

===The 1940s: Radio===
[[File:Carnegie-hall-isaac-stern.jpg|thumb|upright=.85|left|[[Carnegie Hall]]]]
During the 1940s Antonini conducted live radio broadcasts of the program ''[[Viva America]]''<ref>[http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America] {{Webarchive|url=https://web.archive.org/web/20120206070142/http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America|date=6 February 2012}}</ref> on the [[CBS Radio]] and La Cadena de las Americas (Network of the Americas) in collaboration with several international artists including: [[Nestor Mesta Chayres]] (aka "El Gitano De Mexico"),<ref>{{cite web | url=http://www.bassanonline.com/1946-Nestor-Chayres-photo%2Ci180061834647%2Cc108730.html | archive-url=https://web.archive.org/web/20070930102243/http://www.bassanonline.com/1946-Nestor-Chayres-photo%2Ci180061834647%2Cc108730.html | archive-date=2007-09-30 | title=Advertisements }}</ref> [[Terig Tucci]], [[Juan Arvizu]] (aka ''"El Troubador de las Americas"''), [[Elsa Miranda]] ,<ref>[https://books.google.com/books?id=YBgEAAAAMBAJ&dq=Elsa+Miranda&pg=PT3 "Banana E.T. Proves Good Eating for Elsa Miranda"], ''Billboard'', 2 February 1946, p. 4 "Elsa Miranda and the radio show ''Viva America''" on https://books.google.com</ref> [[Eva Garza]],<ref>[http://frontera.library.ucla.edu/blog/2016/04/artist-biography-eva-garza Eva Garza biography, ''The Strachwitz Frontera collection of Mexican and Mexican American Recordings'' on frontera.library.ucla.edu]. Accessed 29 December 2022.</ref><ref>Deborah R. Vargas.
[https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''], University of Minnesota Press, Minneapolis, 2012, pp. 155-157; {{ISBN|978-0-8166-7316-2}}</ref> [[Kate Smith]],<ref>[https://www.gettyimages.com/detail/news-photo/left-to-right-actor-pat-obrien-and-cbs-radio-singer-kate-news-photo/905998976?adppopup=true Photograph of actor Pat O'Brien and singer Kate Smith on the Viva America program for CBS Radio on Getty Images.com]</ref> [[Pat O'Brien (actor)|Pat O'Brien]],<ref>[https://www.gettyimages.com/detail/news-photo/left-to-right-actor-pat-obrien-and-cbs-radio-singer-kate-news-photo/905998976?adppopup=true Photograph of actor Pat O'Brien and singer Kate Smith on the Viva America program for CBS Radio on Getty Images.com]</ref> and [[John Serry Sr.|John Serry]].<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music - University of Rochester - Sibley Music Library: John J. Serry Sr. Collection Autographed Photograph of John Serry accordionist on CBS' C de Las A program circa 1940s p. 3, Series 3, Collection Box 3, Item 1: The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref><ref>''The New York Times'', 9 June 1946, p. 49.{{title missing}}</ref><ref>''Media Sound & Culture in Latin America & the Caribbean'' (eds Bronfman, Alejandra & Wood, Andrew Grant). University of Pittsburgh Press, [[Pittsburgh, Pennsylvania|Pittsburgh, PA]], USA, 2012, p. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 https://books.google.com See p. 49]. Accessed 29 December 2022.</ref> He also appeared with Chayres and the New York Philharmonic in the ''Night of the Americas Concert'' series at [[Carnegie Hall]].,<ref>''The New York Times'', 12 May 1946, p. 42{{title missing}}</ref><ref>{{cite book |title=Members of NY Philharmonic Printed Program (Carnegie Pop Concert), May 11, 1946 at Carnegie Hall in Manhattan, NY; Alfredo Antonini, conductor |oclc=1050435196 |url=https://archives.nyphil.org/index.php/artifact/17e5b0d2-a12b-4626-9138-25f9cfc1cc16-0.1 }}</ref> which, according to ''[[The New York Times]]'', was eagerly anticipated by the general public.<ref>''The New York Times'', 17 May 1947, p. 8{{title missing}}</ref><ref>''The New York Times'', 4 May 1950, p. 37{{title missing}}</ref> Additional performances in collaboration with Arvizu and the CBS Tipica Orchestra for the ''Inter-America Music Fiesta'' at [[Carnegie Hall]] also attracted widespread acclaim.<ref>''The New York Times'', 27 October 1941, p. 21{{title missing}}</ref><ref>''The New York Times'', 1 February 1942, p. D2{{title missing}}</ref>

In 1946, Antonini recorded several popular Latin American songs on the album ''Latin American Music - Alfredo Antonini and Viva America Orchestra'' for Alpha Records (catalogue #'s 12205A, 12205B, 12206A, 12206B) including: ''Tres Palabras'' ([[Osvaldo Farres]]), ''Caminito de Tu Casa'' ([[Julio Alberto Hernández]]), ''Chapinita'' ([[Miguel Sandoval (composer)|Miguel Sandoval]]) and ''Noche De Ronda'' ([[Augustin Lara]]).<ref name="books.google.com">''Billboard'': "Advanced Record Releases - Alfredo Antonini and Viva America Orchestra", New York, Vol. 58 No. 14, 6 April 1946, pp. 34, 130 [https://books.google.com/books?id=3hkEAAAAMBAJ&dq=Billboard+April+6+1946+Antonini&pg=PT33 ''Latin American Music'' - Alfredo Antonini and Viva America Orchestra in ''Billboard''], books.google.com. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00522350&searchType=1&permalink=y ''Latin American Music''] catalog.loc.gov. Accessed 29 December 2022.</ref> Critical review of the albums in ''The New Records'' praised his conducting talents and hailed the collection as among the best new albums of Latin American music.<ref>The New Records. ''Latin American Music - Alfredo Antonini and Viva America orchestra'' H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, pp. 6-7</ref><ref>[https://archive.org/stream/TNR14/The%20New%20Records%20Vol%2014#page/n77/mode/2up/search/Alfredo+Antonini ''Latin American Music - Alfredo Antonini and Viva America Orchestra'' critical review of the album in ''The New Records'' (pp. 6-7)], archive.org. Accessed 29 December 2022.</ref>

{{external media|width=150px|image1=Photograph of Alfredo Antonini conductor CBS Pan American Orchestra on "[[Viva America]]" for CBS Radio in 1946 [https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995866?adppopup=true '''Here on Getty images''']}}
Later in the 1940s, Antonini collaborated with vocalist Victoria Cordova in a series of recordings for [[Muzak]], featuring compositions familiar to audiences in both North and South America. Included among these were: ''[[What a Difference a Day Made]]'' - [[Maria Grever]], ''[[You Belong to My Heart]]'' - [[Agustin Lara]], ''[[Siboney (song)|Siboney]]'' - [[Ernesto Lecuona]], ''[[Amor (Gabriel Ruiz song)|Amor]]'' - [[Gabriel Ruiz (composer)|Gabriel Ruiz]], ''[[Say It Isn't So (Irving Berlin song)|Say It Isn't So]]'' - [[Irving Berlin]], ''[[How Deep is the Ocean?|How Deep is the Ocean]]'' - [[Irving Berlin]] and ''[[A Perfect Day (song)|A Perfect Day]]'' - [[Carrie Jacobs-Bond]].<ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=10072&recCount=25&recPointer=7&bibId=12506525 "Victoria Cordova" and Alfredo Antonini Orchestra sound recording for Muzak archived in The Library of Congress Online Catalog at catalog.loc.gov]. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=10034&recCount=25&recPointer=3&bibId=13658991 "Victoria Cordova" and Alfredo Antonini Orcehatra sound recording for Muzak archived in the Library of Congress Online Catalog at catalog.loc.gov]. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=10056&recCount=25&recPointer=5&bibId=13447447 Victoria Cordova and Alfredo Antonini Orchestra sound recording for Muzak #1], catalog.loc.gov. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=25529&recCount=25&recPointer=1&bibId=13672049 Victoria Cordova and Alfredo Antonini Orchestra sound recording for Muzak #2], catalog.loc.gov. Accessed 29 December 2022.</ref> He also collaborated with the Latin group [[Los Panchos|Los Panchos Trio]] in a recording of the Chilean cueca dance ''La Palma'' for Pilotone records (#P45-5067).<ref>[https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 "La Palma" performed by Los Panchos Trio, Alfredo Antonini and the Viva America Orchestra on archive.org]. Accessed 29 December 2022.</ref> In addition, he recorded several songs for Columbia records with operatic baritone Carlo Morelli which included "[[La spagnola]]" (#17192-D), ''Alma Mia'' (#17192-D) ''Canta Il Mare'' (#17263-D), ''Si Alguna Vez'' (#17263-D).<ref>[https://archive.org/search.php?query=Alfredo%20Antonini Vocalist Baritone Carlo Morelli and Alfredo Antonini in performance on archive.org]</ref> Additional collaborators included: [[Nino Martini]] for a recording of the song ''[[Amapola (song)|Amapola]]'' (Columbia, #17202-D)<ref>[https://archive.org/details/78_amapola-pretty-little-poppy_nino-martini-alfredo-antonini-joseph-lacalle_gbia0021249b ''Amapola'' performed by Nino Martini and Alfredo Antonini on archive.org]. Accessed 29 December 2022.</ref> and Nestor Chayres for a recording of ''[[Granada (song)|Granada]]'' (Decca, #23770 A).<ref>[https://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a ''Granada'' performed by Nestor Chayres and Alfredo Antonini], archive.org. Accessed 29 December 2022.</ref>

At the close of the decade in 1948, Antonini also appeared as the conductor in the premier program of the [[Columbia Symphony Orchestra|CBS Symphony]] Summer Series which was broadcast live over the CBS Radio network.<ref>[https://books.google.com/books?id=ArVNAAAAIBAJ&dq=Alfredo+Antonini&pg=PA8&article_id=2390,2718782 "Distinguished Conductors, Soloists, Premiers of American WorksSlated For Summer Series of CBS Symphony" ''Your Radio Listening Post'' April 23, 1948 p. 14 on Google Books]</ref> During this time he also collaborated with leading orchestral musicians including [[Julius Baker]],<ref>[https://books.google.com/books?id=9qEuAAAAIBAJ&dq=Alfredo+Antonini+Pan+American+Orchestra&pg=PA65&article_id=4339,1244531 "Sunday Selections" ''Toledoo Blade'', June 12, 1948 p. 65 on Google Books]</ref><ref>[https://archives.nypl.org/rha/20484#c1272071 The New York Public Library Archives and manuscripts: "Voice of America Collection of Radio Broadcasts" June 13, 1948 Alfredo Antonini & Julius Baker on archives.nypl.org]</ref> and [[Mitch Miller]].<ref>[https://archives.nypl.org/rha/20484#c1272071 The New York Public Library Archives and manuscripts: "Voice of America Collection of Radio Broadcasts" June 13, 1948 Alfredo Antonini & Mitch Miller on archives.nypl.org]</ref> Several of his performances with the [[CBS Symphony Orchestra]] were also broadcast over the Voice of America network in 1948 and 1949.<ref>[https://archives.nypl.org/search/rha/20484?q=CBS+Symphony+Alfredo+Antonini Alfredo Antonini conducts the CBS Symphony Orchestra on Voice of America archived at the New York Public Library on archives.nypl.org]</ref> In addition, his recordings with the operatic vocalists Juan Arvizu and Nestor Mesta Chayres were transcribed during this time for broadcast by the [[Armed Forces Radio Network]].<ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&q=Alfredo%20Antonini ''The Directory of the Armed Forces Radio Service'' Mackenzie, Harry. Greenwood Press, London, 1999, p. 33 Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres on Google Books]</ref>

===The 1950s: Opera===
[[File:Ccny.JPG|thumb|upright=.85|left|[[City College of New York]] -[[Lewisohn Stadium]], New York City (1973)]]

During the 1950s, Antonini was a professor of music at St. John's University, located in Brooklyn, New York. He taught the Music Appreciation course. As a musical director for [[CBS Television]] during the 1950s, he was instrumental in presenting a program of classical and operatic music to the general public. His collaboration with [[Julie Andrews]], [[Richard Rodgers]], and [[Oscar Hammerstein II]] in a production of ''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'' for CBS television was telecast live in color on 31 March 1957 to an audience of 107 million.<ref>''The New York Times'', 31 March 1957, p. 106{{title missing}}</ref><ref>
Amy Asch.[https://books.google.com/books?id=TQIYt3kBqVAC&dq=Cinderella+Alfredo+Antonini&pg=PA380 ''The Completre Lyrics of Oscar Hammerstein II''], Alfred A. Knopf, New York, 2008, p. 380 https://books.google.com</ref><ref>[https://books.google.com/books?id=9XLEAQAAQBAJ&dq=Cinderella+Alfredo+Antonini&pg=PT108 "Cinderella (Television)" and Alfredo Antonini and Julie Andrews, ''The Rodgers and Hammerstein Collection''], Williamson Music, 2002; {{ISBN|9781458449801}}</ref> During this decade, he also appeared with several noted operatic sopranos including: [[Eileen Farrell]] and [[Beverly Sills]].<ref name="The New York Times 1956, pg. 26">''The New York Times'', 9 July 1956, p. 26.{{title missing}}</ref> Later in 1957, he became the musical director/conductor of the [[Tampa, Florida|Tampa]] Philharmonic Orchestra.<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>

In 1951 he also served as both the orchestra leader and the Choral leader for the CBS Radio program ''Music Land U.S.A'' which featured talented vocalists. Included on the broadcast were [[Lois Hunt]], [[Earl Wrightson]] and [[Thomas Hayward (tenor)|Thomas Hayward]].<ref>[https://www.gettyimages.com/detail/news-photo/music-land-usa-a-cbs-radio-program-featuring-singers-image-news-photo/1167062996?adppopup=true Photograph Music Land U.S.A. Alfredo Antonini, Lois Hunt, Earl Wrightson Thomas Hayward at CBS Radio in 1951 on Getty Images]</ref> These performances by the Alfredo Antonini Orchestra were included among several transcriptions of Antonini's work which were selected for broadcast to America's armed forces throughout the world by the [[Armed Forces Radio Network]] Service during the 1940's and 1950's.<ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&q=Alfredo%20Antonini ''The Directory of the Armed Forces Radio Service'' Mackenzie, Harry. Greenwood Press, London, 1999, p. 33, p.143, p. 151, p. 160, p. 162 on Google Books]</ref>

Antonini served as a conductor of the open-air summer concerts held at the landmark [[Lewisohn Stadium]] in New York City during the 1940s, 1950s and 1960s.<ref>[https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to= ''The New York Philharmonic - Leon Levy Digital Archives''], Programs of Alfredo Antonini conducting the New York Philharmonic. Accessed 29 December 2022.</ref> He appeared at least once during each season while featuring leading talent from the [[Metropolitan Opera]].<ref>[https://academicworks.cuny.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=3282&context=gc_etds ''City University of New York CUNY Academic Works - Music for the (American) People: The Concerts at Lewisohn Stadium 1922-1964'' Johnathan Stern. The City University of New York, New York, 2009, p. 204]</ref><ref>
Seven Frequent Stadium Conductors - Alfredo Antonini and starts from the Met at Lewisohn Stadium, academicworks.cuny.edu. Accessed 29 December 2022.</ref><ref>[https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to= ''The New York Philharmonic - Leon Levy Digital Archives'' - Programs of Alfredo Antonini conducting the New York Philharmonic and operatic soloists], archives.nyphil.org. Accessed 29 December 2022.</ref><ref>{{Cite web|url=https://www.wnyc.org/search/?q=Alfredo+Antonini|title=Search | WNYC | New York Public Radio, Podcasts, Live Streaming Radio, News|website=WNYC}}</ref> His appearances with the [[New York Philharmonic]] Symphony Orchestra and the Lewisohn Stadium Orchestra during the series of ''Italian Night'' concerts frequently attracted audiences which exceeded 13,000 guests. These performances featured arias from the standard Italian operatic repertoire and showcased such operatic luminaries as: [[Jan Peerce]], [[Eileen Farrell]], [[Richard Tucker (tenor)|Richard Tucker]], [[Beverly Sills]], [[Licia Albanese]],<ref>''Stadium Concerts Review'' - Stadium Symphony Orchestra, Herald Square Press, Volume XLII, No. 1, 22 June 1959, p. 17 [https://web.archive.org/web/20190204180000/https://archives.nyphil.org/index.php/artifact/64e03b3b-6294-4ff8-8e54-86245693a4ec-0.1/fullview#page/1/mode/2up ''Stadium Concerts Review'' program listing for Licia Albanese, Alfredo Antonini, Richard Tucker and The New York Philharmonic on 25 June 1959, p. 17 on nyphil.org]</ref> [[Eva Likova]],<ref name="Straus 1948 NYT">{{cite news |id={{ProQuest|108130355}} |last1=Straus |first1=Noel |title=OPERATIC EXCERPTS HEARD AT STADIUM; Alfredo Antonini Offers Italian Music Before 14,000 -- Four Soloists Join in Concert |url=https://www.nytimes.com/1948/07/02/archives/operatic-excerpts-heard-at-stadium-alfredo-antonini-offers-italian.html |work=The New York Times |date=2 July 1948 }}</ref> [[Robert Weede]],<ref name="Straus 1948 NYT"/> [[Cloe Elmo]]<ref name="Straus 1948 NYT"/> and [[Robert Merrill]].<ref name="The New York Times 1956, pg. 26"/><ref>''The New York Times'', 24 July 1950, pg. 26{{missing title}}</ref><ref>''The New York Times'', 11 July 1952, pg. 13{{missing title}}</ref><ref>''The New York Times'', 18 July 1952, pg 10{{missing title}}</ref><ref>''The New York Times'', 20 July 1953, pg. 14{{missing title}}</ref><ref>''The New York Times'', 10 July 1954, pg. 6{{missing title}}</ref><ref>''The New York Times'', 12 June 1955, pg. X7{{missing title}}</ref><ref>''The New York Times'', 14 May 1958, pg. 36{{missing title}}</ref><ref>''The New York Times'', 30 July 1958, pg. 19{{missing title}}</ref><ref>''The New York Times'', 6 May 1959, pg 48{{missing title}}</ref><ref>''The New York Times'', 14 May 1959, pg. 29{{missing title}}</ref>

===1950s-1970s: Television===
{{ external media | width= 150px |audio1 = You may listen to Alfredo Antonini conducting the [[New York Philharmonic]], [[Licia Albanese]], and [[Richard Tucker (tenor)|Richard Tucker]] performing operatic arias by [[Giacomo Puccini]] in 1959 [https://www.wqxr.org/story/licia-albanese-and-richard-tucker-all-puccini-program/ here]}}
Antonini’s work with CBS soon led to television work as that medium came to prominence in the 1950s. He composed half the scores and led the CBS Orchestra in performances for the popular documentary series, ''[[The Twentieth Century]]'' (1957-66).<ref>Richard C. Bartone, “[https://interviews.televisionacademy.com/shows/twentieth-century-the The Twentieth Century],” in The Encyclopedia of Television (1997, Museum of Broadcast Communications). </ref> He conducted the CBS Orchestra on the ''American Musical Theater'' documentary series (1959) which also featured [[Robert Weede]] and [[Laurel Hurley]].<ref>''Hearings- United States Senate'', Volume 8, U. S. Government Printing Office 1962, p. 2006</ref><ref>[https://books.google.com/books?id=1q7dCr0MgvQC&q=Alfredo+Antonini Alfredo Antonini, CBS Orchestra and New York City Board of Education], books.google.com. Accessed 29 December 2022.</ref><ref>[https://www.paleycenter.org/collection/item/?q=meet&p=64&item=T:54153 "American Musical Theater" - education television program featuring Alfredo Antonini on the paleycenter.org]</ref>
Other early network credits included the long-running ecumenical religious program, ''Lamp Unto My Feet'', and specials such as ''Cinderella'' and ''The Fabulous Fifties''.<ref name="Alfredo Antonini, 82 NYT 5Nov1983" />

Antonini continued to collaborate as a guest conductor with instrumental soloists, including [[Benny Goodman]] in 1960 for a performance of [[Mozart's Clarinet Concerto]] at Lewisohn Stadium.<ref>Stern, Jonathan. ''Music of the (American) People: The Concerts at Lewisohn Stadium, 1922-1964''. The City University of New York (CUNY) - Graduate Center, New York, 2009 pp. 204-205 [https://academicworks.cuny.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=3282&context=gc_etds Alfredo Antonini guest conductor on academicworks.cuny.edu]. Accessed 29 December 2022.</ref> In addition, he conducted the [[Symphony of the Air]] in the live prime-time television special ''Spring Festival of Music'' for [[CBS Television]]. This collaboration with the pianist [[John Browning (pianist)|John Browning]] and the producer [[Robert Herridge]] showcased a performance of a movement from Sergie Rachmaninoff's Second Piano Concerto.<ref name="Mi22WDcvoC p. 104">Brian G. Rose. [https://books.google.com/books?id=0bMi22WDcvoC&dq=John+Browning+Spring+Festival+of+Music+Alfredo+Antonini&pg=PA104 ''Television and the Performing Arts'']. Greenwood Press, New York 1986 p. 104; {{ISBN|0-313-24159-7}} Alfredo Antonini, Symphony of the Air, Robert Herridge and John Browning collaborating.</ref> The performance was noted for its musical excellence as well as its dramatic visual presentation on television.<ref name="Mi22WDcvoC p. 104" />

In 1962, Antonini collaborated with [[First Lady of the United States]] [[Jacqueline Kennedy]], director [[Franklin J. Schaffner]], and journalist [[Charles Collingwood (journalist)|Charles Collingwood]] of ''[[CBS News]]'' for the groundbreaking television documentary ''[[A Tour of the White House with Mrs. John F. Kennedy]]''. The documentary television program was watched by more than 80 million viewers throughout the world and received wide critical acclaim.<ref name="paleycenter.org">[https://www.paleycenter.org/collection/item/?q=cbs+television+w..&p=37&item=T76:0067 ''The Paley Center for Media - Tour of the White House with Mrs. John F. Kennedy - Music Director Alfredo Antonini''], paleycenter.org. Accessed 29 December 2022.</ref><ref name="ByzCAAAQBAJ p. 54">[https://books.google.com/books?id=9ByzCAAAQBAJ&dq=A+Tour+of+the+White+House+with+Mrs+Jacqueline+Kennedy+Charles+Collingwood&pg=PA54 ''The Cambridge Companion to John F. Kennedy''] (ed. Andrew Hoberick). Cambridge University Press, New York. 2015, p. 54; {{ISBN|978-1-107-04810-2}}</ref>

In 1964, Antonini appeared as conductor of the CBS Symphony Orchestra in an acclaimed adaptation of [[Hector Berlioz]]'s sacred oratorio ''[[L'enfance du Christ]]'' for CBS Television. His operatic soloists included: [[Sherrill Milnes]], [[Giorgio Tozzi]], [[Ara Berberian]], and [[Charles Anthony (tenor)|Charles Anthony]] as supported by the choral voices of the Camerata Singers.<ref name="nypl.org">{{Cite book|url=https://www.nypl.org/research/research-catalog/bib/b13911987|title=L'enfance du Christ: the childhood of Christ|date=January 1, 1964|publisher=CBS-TV|via=NYPL Research Catalog}}</ref> At this time, he collaborated as conductor for a televised episode of ''[[CBS Workshop|The CBS Repertoire Workshop]]'', "Feliz Borinquen", which showcased the talents of such leading Puerto Rican-American performers as: [[Martina Arroyo]] and [[Raul Davila]].<ref>[https://www.imdb.com/title/tt6249208/fullcredits?ref_=tt_ov_st_sm "Feliz Borinquen" with Alfredo Antonini, Martina Arroyo and Raul Davila on imdb.com]</ref>

[[File:Avery Fisher Hall with Henry Moore scupture.jpg|thumb|upright=.85|left|[[David Geffen Hall|Philharmonic Hall]] - [[Lincoln Center]] Avery Fisher Hall with Henry Moore sculpture]]
In addition to performing as a conductor on [[WOR (AM)|WOR]] radio in [[New York City]] during the 1940s, he appeared as a guest conductor for leading symphonic orchestras in Chicago, Milwaukee, Oslo, Norway and [[Chile]] during the 1950s. During this time he also founded the Tampa Philharmonic Orchestra in Tampa, Florida, which eventually merged into the Florida Gulf Coast Symphony.<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/> In the 1960s, Antonini also appeared as a guest conductor with the New York Philharmonic at [[Avery Fisher Hall|Philharmonic Hall]] during a grand opera benefit concert which featured the artistry of [[Jan Peerce]] and [[Robert Merrill]].<ref name="The New York Times 1964, pg. 114">''The New York Times'', 6 December 1964, p. 114{{title missing}}</ref> Throughout the 1960s he continued to collaborate with such operatic luminaries as Jan Peerce, [[Robert Merrill]],[[Franco Corelli]], [[Nicolai Gedda]], [[Giorgio Tozzi]], [[Gabriella Tucci]], and [[Dorothy Kirsten]] in a variety of gala concerts.<ref name="The New York Times 1964, pg. 114"/><ref>''The New York Times'', 14 November 1965, p. 101{{title missing}}</ref><ref>{{Cite web|url=https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to=|title=New York Philharmonic | Search Results|website=archives.nyphil.org}}</ref> He also performed with [[Roberta Peters]] at the [[Lewisohn Stadium]] at [[City College of New York|City College]].<ref>''The New York Times'', 30 July 1962, p. 14{{title missing}}</ref>

In 1971, Antonini served as musical director on the [[CBS Television]] premier of [[Ezra Laderman]]'s opera ''And David Wept'', earning an [[Emmy Award]] for Outstanding Achievement in Religious Programming (1972). He collaborated in this premier production with such operatic luminaries as [[Sherrill Milnes]], [[Rosalind Elias]], and [[Ara Berberian]].<ref>[https://books.google.com/books?id=Vp8nkGeJKiUC&q=And+David+Wept+&pg=PA242 ''American Aria Encore''] Sherrill Milnes. Amadeus Press, New York 2007 pp. 242-243; {{ISBN|978-157-467160-5}} Sherrill Milnes and Alfredo Antonini collaborating in "And David Wept".</ref><ref>Margaret Ross Griffel.
[https://books.google.com/books?id=Y8bQAwAAQBAJ&dq=And+David+Wept+Ara+Berberian&pg=PA19 ''Operas in English''], Scarecrow Press, UK2013 p. 19; {{ISBN|978-0-8108-8272-0}} "'And David Wept' premiered on CBS Television in 1971 with Sherrill Milnes and Ara Berberian"], books.google.com. Accessed 29 December 2022.</ref> Several years later, in 1975, he joined forces once again with Berberian and mezzo-soprano [[Elaine Bonazzi]] for the CBS television movie, ''A Handful of Souls''.<ref>{{Cite web|url=http://www.milkenarchive.org/artists/view/ezra-laderman/|title = Laderman, Ezra}}</ref><ref>Nina David. [https://books.google.com/books?id=EyFAAQAAIAAJ&q=Ellaine+Bonnazi+A+Handful+of+Souls+Alfredo+Antonini+1975 TV Season 1975-76], Oryx Press 1975 p. 83, ''A Handful of Souls''], books.google.com. Accessed 29 December 2022.</ref>

Antonini's collaborations at CBS Television extended beyond the realm of opera to include prominent figures from several professions including:
* Philanthropy - ([[John D. Rockefeller III]])
* Government - ([[Jacqueline Kennedy Onassis]])<ref name="paleycenter.org"/><ref name="ByzCAAAQBAJ p. 54"/>
* Journalism - ([[Charles Collingwood (journalist)|Charles Collingwood]])<ref name="paleycenter.org"/><ref name="ByzCAAAQBAJ p. 54"/> [[Walter Cronkite]],<ref name="Nehru : man of two worlds">{{cite AV media |title=Nehru : man of two worlds |oclc=8872925 }}</ref><ref name="The Nisei : the pride and the shame">{{cite AV media |title=The Nisei : the pride and the shame |oclc=11308336 }}</ref> [[Daniel Shorr]])
* Art - ([[Henry Moore]], [[Kenneth Clark]])
* Dance - ([[Mary Hinkson]])
* Drama - ([[John Alexander (actor)|John Alexander]], [[Julie Andrews]],<ref>{{cite AV media |title=Cinderella |oclc=422761879 }}</ref> [[Ingrid Bergman]],<ref name="Fe1HuVWVQwC p. 230">[https://books.google.com/books?id=tFe1HuVWVQwC&dq=Ingrid+Bergman+24+hours+in+a+woman%27s+life+Alfredo+Antonini&pg=PA230 ''The Complete Films of Ingrid Bergman'']. Citadel Press Carol Publishing Group, New York 1991 p. 230 "24 Hours in a Woman's Life" Credits: Ingrid Bergman and Alfredo Antonini on https://books.google.com</ref> [[Betty Comden]],<ref>[https://books.google.com/books?id=Of0QAAAAQBAJ&dq=The+Fabulous+Fifties+Alfredo+Antonini&pg=PA148 ''Television Specials''] Vincent Terrace. McFarland and Co, North Carolina 2013, p. 148; {{ISBN|978-0-7864-7444-8}} "The Fabulous Fifties" Credits: Alfredo Antonini and Betty Comden.</ref> [[Henry Fonda]],<ref>[https://books.google.com/books?id=Of0QAAAAQBAJ&dq=The+Fabulous+Fifties+Alfredo+Antonini&pg=PA148 ''Television Specials''] Vincent Terrace. McFarland and Co, North Carolina 2013, p. 148; {{ISBN|978-0-7864-7444-8}} "The Fabulous Fifties" Credits: Alfredo Antonini and Henry Fonda on https://books.google.com</ref> [[Jackie Gleason]],<ref>[https://books.google.com/books?id=Of0QAAAAQBAJ&dq=The+Fabulous+Fifties+Alfredo+Antonini&pg=PA148 ''Television Specials''] Vincent Terrace. McFarland and Co, North Carolina 2013, p. 148; {{ISBN|978-0-7864-7444-8}} "The Fabulous Fifties" Credits: Alfredo Antonini and Jackie Gleason .</ref> [[Steven Hill]], [[Ron Holgate]],<ref>G.K. Hall.
[https://books.google.com/books?id=uottAAAAMAAJ&q=Alfredo+Antonini+Ronald+Holgate ''Jewish Films in the United States''], University of Southern California, 1976, p. 266 "Alfredo Antonini conductor CBS Orchestra and Ronald Holgate" on https://books.google.com</ref> [[Celeste Holm]], [[Richard Kiley]],<ref>{{cite book |title=Studio one-- 'The landlady's daughter' |oclc=23903981 }}</ref> [[Howard Lindsay]],<ref>Jack Raymond. [https://books.google.com/books?id=6vr0AAAAMAAJ&q=Alfredo+Antonini+Julie+Andrews++Howard+Lindsay+ ''Show Music on Record''] ''Smithsonian Washington'' 1992, p. 226 Cinderella Credits: Julie Andrews, Howard Lindsay, and Alfredo Antonini on https://books.google.com</ref> [[Michael Redgrave]])
* Concert Stage - ([[Charles Anthony (tenor)|Charles Anthony]]<ref>Jerry L. McBride. [https://books.google.com/books?id=soYHkRcq0r4C&dq=Charles+Anthony+Alfredo+Antonini&pg=PA219 ''Douglas Moore: A Bibliography''] Music Library Association & A. R. Editions, Wisconsin. p. 219; {{ISBN|978-0-89579-666-0}} Charles Anthony and Alfredo Antonini on https://books.google.com</ref> [[John Browning (pianist)|John Browning]])<ref>Brian G. Rose. [https://books.google.com/books?id=0bMi22WDcvoC&dq=John+Browning+Spring+Festival+of+Music+Alfredo+Antonini&pg=PA104 ''Television and the Performing Arts'']. Greenwood Press, New York 1986 p. 104; {{ISBN|0-313-24159-7}}</ref>

==Death==
Alfredo Antonini died at the age of 82 during heart surgery in Clearwater, Florida, in 1983. He was buried in Sylvan Abbey Memorial Park cemetery in Clearwater and was survived by his wife Sandra and a son.<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/><ref name="Italian maestro dies during surgery"/>

==Compositions==
* ''The Great City''
* ''[[Sarabande]]''
* ''Sicilian Rhapsody''
* ''Suite for Cello and Orchestra''
* ''Preludes for Organ''
* ''Suite for Strings''
* ''The United States of America, Circa 1790''
* ''Mambo Tropical''

==Discography==
{{ external media |width=220px|audio1 = You may listen to Alfredo Antonini with lyric tenor [[Nino Martini]] in [[Joseph Lacalle]]'s song ''[[Amapola (song)|Amapola]]'' in 1940 [https://archive.org/details/78_amapola-pretty-little-poppy_nino-martini-alfredo-antonini-joseph-lacalle_gbia0021249b/Amapola+(Pretty+Little+Poppy)+-+Nino+Martini.flac '''here''']}}

* ''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'', vocalist [[Julie Andrews]], Columbia Masterworks (OL5190), 12 Inch LP, 1957?
* ''American Fantasy'', SESAC Records, 33 RPM LP, 195?
* ''Atmosphere By Antonini - Alfredo Antonini and His Orchestra'', Coral Records (LVA 9031), 33PRM LP, 1956<ref name="discogs.com">{{cite web| url = https://www.discogs.com/artist/531459-Alfredo-Antonini| title = Alfredo Antonini {{!}} Discography {{!}} Discogs| website = [[Discogs]]}}</ref>
* ''Romantic Classics'', SESAC Records, 33 RPM LP, 195?
* ''Aaron Copland/Hugo Weisgall/Alfredo Antonini - Twelve Poems of Emily Dickenson'', Columbia Masterworks (ML 5106), 33 RPM LP, 1956<ref name="discogs.com"/>
* ''Songs from Sunny Italy - Richard Tucker with Alfredo Antonini Conducting the Columbia Concert Orchestra'', Columbia Masterworks (ML 2155), 33 RPM LP, 1950<ref name="discogs.com"/>
* ''Alfredo Antonini and His Orchestra - Dances of Latin America'', London Records (LPB.294), 33 RPM LP, 1950<ref name="discogs.com"/>
* ''Alfredo Antonini & The Columbia Concert Orchestra'', soloist Richard Tucker, Columbia Masterworks (A-1540), 45 RPM, 195?
* ''Nestor Chayres Singing Romantic Songs of Latin America'', Alfredo Antonini conductor, Decca, 78 RPM, 1947<ref>{{Cite web|url=https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00726807&searchType=1&permalink=y|title=LC Catalog - No Connections Available|website=catalog.loc.gov|date=1947 }}</ref>
* ''Juan Arvizu, Troubador of the Americas'', Alfredo Antonini conductor, Columbia Records (#36663), 1941 78 RPM, 1941<ref>{{Cite web|url=https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00728857&searchType=1&permalink=y|title=LC Catalog - No Connections Available|website=catalog.loc.gov|date=1941 }}</ref><ref>{{Cite web|url=http://archive.org/details/78_duerme-time-was_juan-arvizu-and-the-c-b-s-tipica-orchestra-bermejo-alfredo-ant_gbia0021701|title=Juan Arvizu|date=December 1, 1941|via=Internet Archive}}</ref>
* ''Latin American Music - Alfredo Antonini and Viva America Orchestra'', Alfredo Antonini conductor of the Viva America Orchestra, Elsa Miranda vocalist, Alpha Records (#12205) 78 RPM, 1946<ref>{{Cite web|url=https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00522350&searchType=1&permalink=y|title=LC Catalog - No Connections Available|website=catalog.loc.gov}}</ref><ref name="books.google.com"/>
* ''Richard Tucker: Just For You with Alfredo Antonini and the Columbia Symphony Orchestra'', Columbia Masterworks (A-1619-1), 45 RPM,195?<ref name="discogs.com"/>
* ''Amapola'' (Joseph Lacalle), vocalist [[Nino Martini]], Columbia (#17202-D) 78 RPM, 194?<ref>{{Cite web|url=http://archive.org/details/78_amapola-pretty-little-poppy_nino-martini-alfredo-antonini-joseph-lacalle_gbia0021249b|title=Amapola (Pretty Little Poppy)|date=January 1, 1940|via=Internet Archive}}</ref>
* ''Bolero - No Me Lo Digas'' (Maria Grever), vocalist Nino Martini, Columbia (#17202-D), 194?<ref>{{Cite web|url=http://archive.org/details/78_bolero-no-me-lo-digas-dont-ever-tell-me_nino-martini-alfredo-antonini-maria-gr_gbia0021249a|title=Bolero (No Me Lo Digas) (Don't Ever Tell Me)|date=January 1, 1940|via=Internet Archive}}</ref>
* ''Nestor Chayres & Alfredo Antonini'', Decca (#23770), 78 RPM<ref name="discogs.com"/>
* ''Granada'' (Agustin Lara), vocalist Nestor Chayres, Decca (#23770), 78 RPM (1946)<ref>{{Cite web|url=http://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a|title=Granada|date=April 30, 1946|via=Internet Archive}}</ref>
* ''Noche de Ronda'' (Maria Teressa Lara), vocalist Nestor Chayres, Decca (#23770), 78 RPM (1946)<ref>{{Cite web|url=http://archive.org/details/78_noche-de-ronda_nestor-chayres-maria-teresa-lara-alfredo-antonini_gbia0021459b|title=Noche de Ronda|date=April 30, 1946|via=Internet Archive}}</ref>
* ''La Palma'', Los Panchos Trio, Pilotone (#P45 5067), 78 RPM (194?)<ref name="auto">{{Cite web|url=http://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808|title=La Palma; Rosa Negra|via=Internet Archive}}</ref>
* ''Rosa Negra'', Alfredo Antonini Viva America Orchestra, Pilotone (#P45 5069), 78 RPM (194?)<ref name="auto"/>
* ''Alfredo Antonini and The [[Viva America]] Orchestra - Chiqui, Chiqui, Cha/Caminito De Tu Casa'', Bosworth Music (BA.251), 78 RPM, (194?)<ref name="discogs.com"/>
* ''Music of the Americas'', Pilotone Album, 78 RPM LP, 194?
* ''[[La spagnola]]'' (V. Di Chiara), vocalist Carlo Morelli, Columbia (#17192D) 78 RPM (194?)<ref>{{Cite web|url=http://archive.org/details/78_la-spagnola-the-spanish-one_carlo-morelli-alfredo-antonini-v-di-chiara_gbia0034816b|title=La Spagnola (The Spanish One)|date=January 1, 1940|via=Internet Archive}}</ref>
* ''Alma Mia'' (Maria Grever), vocalist Carlo Morelli, Columbia (#17192D) 78 RPM (194?)<ref>{{Cite web|url=https://archive.org/details/78_alma-mia-my-soul_carlo-morelli-alfredo-antonini-maria-grever_gbia0034816a|title=Alma Mia (My Soul) : Carlo Morelli : Free Download, Borrow, and Streaming : Internet Archive|date=1940 }}</ref>
* ''Viva Sevilla!'' and ''Noche de Amor'' vocalist Juan Arvizu, Columbia (#36664) 78 RPM (194?)<ref name="auto2">{{Cite web|url=http://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640|title=Viva Sevilla!; Noche de Amor; Mi Sarape; Que Paso?; El Bigote de Tomas; De Donde?|date=January 28, 1942|via=Internet Archive}}</ref>
* ''Mi Sarape'' and ''Que Paso?'' vocalist Juan Arvizu, Columbia (#36665) 78 RPM (194?)<ref name="auto2"/>
* ''El Bigot de Tomas'' and ''De Donde?'' vocalist Juan Arvizu, Columbia (#36666) 78 RPM (194?)<ref name="auto2"/>
* ''Canta Il Marie'' (Mazzola) and ''Si Alguna Vez'' (Ponce) vocalist Carlo Morelli Columbia (#17263-D) 78 RPM<ref>{{Cite web|url=http://archive.org/details/78_canta-il-mare-song-of-the-sea_carlo-morelli-alfredo-antonini-mazzola-de-leva_gbia0034815a|title=Canta Il Mare (Song of the Sea)|date=January 1, 1940|via=Internet Archive}}</ref>
* ''Esta Noche Ha Pasado'' (Sabre Marrequin) vocalist Luis G. Roldan, Columbia (#6201-x) 78 RPM (194?)<ref>{{Cite web|url=http://archive.org/details/78_esta-noche-ha-pasado_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-c_gbia0033510b|title=Esta Noche Ha Pasado|via=Internet Archive}}</ref>
* ''Tres Palabras'' (Osvaldo Farres) vocalist Luis G. Roldan, Columbia (#6201-x) 78 RPM (194?)<ref>{{Cite web|url=http://archive.org/details/78_tres-palabras_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-cbs-os_gbia0033510a|title=Tres Palabras|via=Internet Archive}}</ref>

==Filmography==
[[File:Charles Collingwood murrow27s boys.jpg|thumb|upright=.85|right|''[[A Tour of the White House with Mrs. John F. Kennedy]]'' (1962) [[Jacqueline Kennedy]] and [[Charles Collingwood (journalist)|Charles Collingwood]] Charles Collingwood murrow27s boys]]
*''A Handful of Souls'' - (TV Movie, Conductor, 1975)<ref>[https://books.google.com/books?id=BqIRQ2iTk6sC&q=A+Handful+of+Souls+and++Alfredo+Antonini ''TV Season 76-77''] Nina David. Greenwood Pub Group, 1978 p. 108 Alfredo Antonini and A Handful of Souls in https://books.google.com</ref>
*''And David Wept'' - (TV Movie, music director, 1971)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
*''Gauguin in Tahiti: The Search for Paradise'' - (TV Documentary, Conductor, 1967)
*''The Emperor's New Clothes'' - (TV Movie, Conductor, 1967)
*''The Twentieth Century'' - ''Nehru: Man of Two Worlds'' - (CBS-TV, Conductor, 1966)<ref name="Nehru : man of two worlds"/>
*''[[Where the Spies Are]]'' - (Film, Conductor, 1966)
*''[[CBS Reports]]'' - (TV Documentary series, Conductor, 1965)
*''The Twentieth Century'' - ''The Nisei: The Pride and the Shame'' (CBS Documentary, Conductor, 1965)<ref name="The Nisei : the pride and the shame"/>
*''Jack and the Beanstalk'' - (TV Movie, Conductor, 1965)
*''Pinocchio'' (TV Movie, Conductor, 1965)
*''L'Enfance du Christ'' - (TV Movie, Conductor, 1964) <ref name="nypl.org"/>
*''CBS Repertoire Workshop'' - (TV Series, Conductor, 1964)
*''The Twentieth Century'' - (CBS-TV Documentary Series, musical director, conductor, 1957-66)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/><ref>[https://books.google.com/books?id=IMVADwAAQBAJ&dq=The+Incredible+Turk+CBS+Alfredo+Antonini&pg=PA137 ''TV in the USA: A History of Icons Idols and Ideas - Volume I 1950s–1960s''] Vincent Lobrutto. Greenwood, Santa Barbara. 2018 p. 137–138 {{ISBN|978-1-4408-2972-7}} The Twentieith Century (1957-1970) Alfredo Antonini composer and the CBS Orchestra on https://books.google.com</ref>
*''Arias and Arabesques'' - (TV Movie, Conductor, 1962)<ref>[https://books.google.com/books?id=soYHkRcq0r4C&dq=Airias+and+Arabesques+Alfredo+Antonini&pg=PA219 ''Douglas Moore - A Bio-Bibliography''] Jerry L. McBride. Music Library Association & A. R. Edwards, Wisconsin. 2011 p. 219 {{ISBN|978-0-89579-666-0}} Arias and Arabesques CBS telecast and Alfredo Antonini 1962 on https://books.google.com</ref>
*''Cabeza de Vaca'' - (TV Movie, Conductor, 1962)<ref>[https://books.google.com/books?id=KzA9AAAAMAAJ&q=Cabeza+de+Vaca+Alfredo+Antonini ''Music Courier Volume 164''] 1962 p. 51 Cabeza de Vaca and Alfredo Antonini and the CBS Symphony on https://books.google.com</ref><ref>[https://books.google.com/books?id=0ecaAQAAMAAJ&q=Alfredo+Antonini ''Biblion: the Bulletin of the New York Public Library''] The New York Public Library, New York 1992 p. 129 Cabeza de Vaca premiered by Alfredo Antonini on the CBS network in 1962 on https://books.google.com</ref>
*''[[A Tour of the White House with Mrs. John F. Kennedy|A Tour of the White House]]'' - (TV Documentary, musical director, 1962)<ref name="paleycenter.org"/>
*''An Act of Faith'' - (TV Movie, musical director, 1961)<ref>{{cite AV media |title=An act of faith |oclc=4013150 }}</ref>
*''Twenty-Four Hours in a Woman's Life'' - (TV Movie, Conductor, 1961)<ref name="Fe1HuVWVQwC p. 230"/>
*''And On Earth, Peace'' - (TV Movie, Composer, 1961)
*''Spring Festival of Music: American Soloists'' - (TV Movie, Self, 1960)<ref>[https://books.google.com/books?id=0bMi22WDcvoC&dq=Spring+Festival+of+Music%3A+American+Soloists+CBS&pg=PA104 ''Television and the Performing Arts - A Handbook and Reference Guide to American Cultural Programing''] Brian G. Rose. Greenwood Press, New York. 1986 p. 104 {{ISBN|0-313-24159-7}} Spring Festival of Music on CBS conducted by Alfredo Antonini on https://books.google.com</ref>
*''The Right Man'' - (TV Movie, Conductor, 1960)
*''The Fabulous Fifties'' - (TV Documentary, musical director, 1960)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
*''The Twentieth Century'' - ''The Movies Learn to Talk'' - (CBS documentary, Conductor, 1959) <ref>{{cite AV media |title=The movies learn to talk |oclc=78115285 }}</ref>
*''The American Musical Theater'' (CBS-TV documentary series, Conductor,1959)<ref>{{cite AV media |title=The American musical theater |oclc=422883733 }}</ref>
*''The Twentieth Century'' - ''The Incredible Turk'' (TV Documentary, Conductor, 1958)<ref>[https://books.google.com/books?id=IMVADwAAQBAJ&dq=The+Incredible+Turk+CBS+Alfredo+Antonini&pg=PA137 ''TV in the USA: A History of Icons Idols and Ideas - Volume I 1950s–1960s''] Vincent Lobrutto. Greenwood, Santa Barbara. 2018 p. 137–138 {{ISBN|978-1-4408-2972-7}} The Twentieith Century (1957–1970)-The Incredibile Turk Alfredo Antonini composer and the CBS Orchestra on https://books.google.com</ref>
*''[[The Seven Lively Arts]]'' - (TV Series, musical director, 1957)
*''[[Air Power (TV series)|Air Power]]'' - (TV Documentary, musical director, 1956–1957)<ref>[https://books.google.com/books?id=sqhkAAAAMAAJ&q=Airpower+Walter+Cronkite+Alfredo+Antonini ''Special Edition - A Guide to Network Television Documentary Series and Special News 1955-1979''] Daniel Einstein. Scarecrow Press 1987 p. 68 Airpower, Walter Cronkite and Alfredo Antonini conducting the CBS Symphony on https://books.google.com</ref><ref>[https://books.google.com/books?id=8rLVvClhs04C&dq=Airpower+Walter+Cronkite+Alfredo+Antonini&pg=PA138 ''The Decade that Shaped Television News - CBS in the 1950s''] Sig Mickelson. Praeger, Conn., 1998 p. 138-139 {{ISBN|0-275-95567-2}} Walter Cronkite, Airpower and Alfredo Antonini conductor of the CBS Orchestra on https://books.google.com</ref>
*''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'' - (TV Special, music director, 1957)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
*''Studio One: Circle of Guilt'' - (CBS-TV, Conductor, 1956)<ref>{{cite AV media |title=Studio one. Circle of guilt |oclc=423379465 }}</ref>
{{external media|width=200px|image1=Photograph of Alfredo Antonini: conductor circa 1930 [https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&doctype=visual '''Here on Archives.nyphil''']}}
*''Studio One: Dino'' - (CBS-TV, music director, 1956) <ref>{{cite AV media |title=Studio one. Dino |oclc=423379532 }}</ref>
*''Studio One: Star-Spangled Soldier'' - (CBS-TV, Music, 1956) <ref>{{cite AV media |title=Studio one. Star-spangled soldier |oclc=423379723 }}</ref>
*''[[Studio One in Hollywood]]'' - (TV Series, music director, 1954)<ref>{{cite AV media |title=Studio one: The remarkable incident at Carson Corners |oclc=34607051 }}</ref>
*''Studio One: Dark Possession'' - (CBS-TV, Musical consultant, 1954)<ref>{{cite AV media |title=Studio one. Dark possession |oclc=423379475 }}</ref>
*''Studio One: Let me Go, Lover'' - (CBS-TV, music director, 1954)<ref>{{cite AV media |title=Studio one. Let me go, lover |oclc=423379622 }}</ref>
*''Studio One: Dry Run'' - (CBS-TV, Music, 1953) <ref>{{cite AV media |title=Studio one. Dry run |oclc=423379541 }}</ref>
*''[[The Jane Froman Show]]'' - (TV Series, Conductor, 1952)<ref>[https://books.google.com/books?id=w8KztFy6QYwC&dq=The+Jane+Frowman+Show+Alfredo+Antonini&pg=PA693 ''The Complete Directory to Prime Time Network and Cable TV Shows 1946 - Present''] Tim Brooks and Earl Marsh. Ballantine Books, New York. 2007 p. 693 {{ISBN|978-0-345-49773-4}} Jane Froman's USA Canteen (aka Jane Froman Show) CBS Alfredo Antonini Orchestra on https://books.google.com</ref>
*''The Cabinet of Dr. Caligari'' - (TV Movie, Composer, 1920)<ref>{{cite AV media |title=Das Cabinet des Dr Caligari |oclc=1041369189 }}</ref>

==Awards==
* Primetime [[Emmy]] Award for Outstanding Achievement in Religious Programming (1972)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/><ref name="TCUTBQAAQBAJ p. 394"/>
* Award for Distinguished Service to Music from the National Association for American Composers and Conductors<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
* Title of [[Commander (order)|Commendatore]] awarded by the President of Italy (1977)<ref name="Italian maestro dies during surgery"/><ref name="quirinale.it">{{Cite web|url=http://www.quirinale.it/elementi/Onorificenze.aspx?pag=0&qIdOnorificenza=&cognome=Antonini&nome=Alfredo&daAnno=1800&aAnno=2017&luogoNascita=&testo=&ordinamento=2|title=Alfredo Antonini on Presidenza della Repubblica}}</ref>
* [[Order of Merit of the Italian Republic]] (1980)<ref name="Italian maestro dies during surgery"/><ref name="quirinale.it"/>

==Archived works==
* Selected scores of compositions by Alfredo Antonini broadcast on the CBS television network are archived within the CBS Collection of Manuscript Scores 1890–1972 at the [[New York Public Library for the Performing Arts]] at Lincoln Center in New York City, New York.<ref>{{Cite web|url=https://archives.nypl.org/mus/25793|title=archives.nypl.org -- CBS collection of manuscript scores|website=archives.nypl.org}}</ref><ref>{{Cite web|url=https://archives.nypl.org/controlaccess/106237?term=Antonini,+Alfredo|title=archives.nypl.org -- Search results|website=archives.nypl.org}}</ref>
* Selected sound recordings featuring Alfredo Antonini conducting the [[CBS Symphony Orchestra]] for [[Voice of America]] are archived at the New York Public Library for the Performing Arts at Lincoln Center in New York City, New York.<ref name="auto1"/>
* Selected concert programs, musical scores, scrape books and business documents by Alfredo Antonini are archived online at the [[New York Philharmonic]] - Shelby White and Leon Levy Digital Archives.<ref>[https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to= The New York Philharmonic Archive. Alfredo Antonini on archives.nyphil.org]</ref>

==Professional affiliations==

* American Society of Composers, Authors and Publishers [[ASCAP]] (1948)<ref name="ReferenceA">{{Cite web|url=https://www.imdb.com/name/nm0031350/|title=Alfredo Antonini|website=[[IMDb]]}}</ref>

==References==
<references/>

==External links==
*[https://archive.org/search.php?query=Alfredo%20Antonini Alfredo Antonini on archive.org]
*[http://frontera.library.ucla.edu/frontera-search?keywords=Alfredo+Antonini Alfredo Antonini recordings archived in The Strachwitz Frontera Collection of Mexican and Mexican American Recordings at the University of California Los Angeles on frontera.library.ucla.edu]
*[https://archives.nypl.org/search/rha/20484?q=CBS+Symphony+Alfredo+Antonini Alfredo Antonini audio recordings with the CBS Symphony Orchestra archived at the New York Public Library at archives.nypl.org]
*[http://library.juilliard.edu/search/?searchtype=a&SORT=D&searcharg=Antonini%2C+Alfredo Alfredo Antonini at The Juilliard School of Music Libraries]
* {{IMDb name|0031350}}
*[https://www.worldcat.org/search?q=Alfredo+Antonini Alfredo Antonini on Worldcat.org]
*[https://www.gettyimages.co.nz/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995866?adppopup=true Photograph of Alfredo Antonini on the" Viva America" radio program at CBS (March 8, 1946) on Getty Images]
*{{Find a Grave|45078083}}

{{Authority control}}

{{DEFAULTSORT:Antonini, Alfredo}}
[[Category:1901 births]]
[[Category:1983 deaths]]
[[Category:American male composers]]
[[Category:American male conductors (music)]]
[[Category:Primetime Emmy Award winners]]
[[Category:Italian composers]]
[[Category:Italian male composers]]
[[Category:Italian conductors (music)]]
[[Category:Italian male conductors (music)]]
[[Category:20th-century American conductors (music)]]
[[Category:20th-century American composers]]
[[Category:20th-century Italian musicians]]
[[Category:20th-century American male musicians]]
[[Category:Italian emigrants to the United States]]

Alfredo Antonini

2024-10-03T23:27:28Z

160.72.80.178: /* Compositions */''Removed dead external media link''~~~~NHPL

{{Short description|Italian-American conductor}}
{{Infobox person
|image=
|caption=
|birth_name=Alfredo Antonini
|birth_place=[[Alessandria]], [[Kingdom of Italy]]{{Flag|Italy}}
|birth_date={{birth date|1901|5|31}}
|death_date={{death date and age|1983|11|3|1901|5|31}}
|occupation= Conductor, Composer, Musical Director
|years_active = 1921–1977
|awards = [[Emmy Award]] [[Order of Merit of the Italian Republic]]
|spouse= Alexandra Catherine Pasimeni (m. 1948)
}}
'''Alfredo Antonini''' (May 31, 1901 – November 3, 1983) was a leading Italian-American symphony conductor and [[composer]] who was active on the international concert stage as well as on the [[CBS]] radio and television networks from the 1930s through the early 1970s.<ref>''The New York Times'', July 2, 1948, pg. 24{{title missing}}</ref><ref>''The New York Times'', October 5, 1948, pg. 30{{title missing}}</ref><ref>''The New York Times'', April 25, 1957, pg. 34{{title missing}}</ref><ref>''The New York Times'', February 12, 1960, pg. 22{{title missing}}</ref> In 1972 he received an [[Emmy Award]] for Outstanding Achievement in Religious Programming on television for his conducting of the premiere of [[Ezra Laderman]]'s opera ''And David Wept'' for CBS television during 1971.<ref name="central">{{cite web|url=http://www.cpanda.org/pdfs/csob/csob/2502.pdf|title=Obituaries: Conductor Alfredo Antonini|work=Central Opera Service Bulletin, Vol. 25, No. 2|date=Winter–Spring 1984|access-date=2010-09-27|archive-date=2011-07-26|archive-url=https://web.archive.org/web/20110726105954/http://www.cpanda.org/pdfs/csob/csob/2502.pdf|url-status=dead}}</ref><ref name="TCUTBQAAQBAJ p. 394">[https://books.google.com/books?id=TCUTBQAAQBAJ&dq=Alfredo+Antonini+Emmy+Award&pg=PA394 ''Entertainment Awards''] Don Franks. McFarland and Co., London, 2005 p. 394 {{ISBN|0-7864-1798-6}} ''Emmy Awards 1972 Outstanding Achievement in Religious Programming - Alfredo Antonini'' on https://books.google.com</ref> In addition, he was awarded the [[Order of Merit of the Italian Republic]] in 1980 <ref>{{Cite web|url=https://www.quirinale.it/onorificenze/insigniti/249852|title=Le onorificenze della Repubblica Italiana|website=www.quirinale.it}}</ref><ref name="Italian maestro dies during surgery">{{cite news |id={{ProQuest|387196129}} |title=Italian maestro dies during surgery |newspaper=The Globe and Mail |date=5 November 1983 |page=E.5 }}</ref>

== Biography ==
Antonini was born in [[Alessandria]] and pursued his musical studies at the [[Milan Conservatory|Royal Conservatory]] in Milan.<ref>{{cite web |title=Alfredo Antonini profile |url=https://www.allmusic.com/artist/alfredo-antonini-mn0002170846 |website=allmusic.com |language=en}}</ref><ref name="HeBu">{{cite web|url=https://www.hebu-music.com/en/musician/alfredo-antonini.7791/|title= Alfredo Antonini profile|publisher=HeBu|accessdate=30 March 2021|language=German}}</ref> He was a student of the Italian conductor [[Arturo Toscanini]], whom he first met at the age of thirteen while performing on the celesta in the Italian premier of Igor Stravinsky's ''[[Petrouchka]]''.<ref>[https://www.nypl.org/research/research-catalog/bib/b16843391 New York Public Library Research Catalogue: "Interview With Alfredo Antonini" Grauer, Ben. 10 June 1963 Alfredo Antonini on nypl.org/research-catalog]</ref> He distinguished himself as both an organist and pianist with [[La Scala]] Orchestra in Milan prior to emigrating to the United States in 1929.<ref>''Latin American Music - Alfredo Antonini and Viva America orchestra''. H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, pp. 6-7 [https://archive.org/stream/TNR14/The%20New%20Records%20Vol%2014#page/n77/mode/2up/search/Alfredo+Antonini ''Latin American Music - Alfredo Antonini and Viva America Orchestra'' critical review of the album and brief biography of Antonini in ''The New Records'', pp. 6–7 on archive.org]. Accessed 29 December 2022.</ref><ref name="Alfredo Antonini, 82 NYT 5Nov1983">{{cite news |title=Alfredo Antonini, 82; Led CBS Symphony |url=https://www.nytimes.com/1983/11/05/obituaries/no-headline-019832.html |work=The New York Times |date=5 November 1983 }}</ref> His musical talents were shared by his father who served as a member of the [[Buenos Aires Opera]] company at the [[Teatro Colón]] after leaving Italy for Argentina.<ref>[https://archive.org/details/TNR14/page/n77/mode/2up?view=theater&q=Alfredo+Antonini The New Records: Latin American Music Review, October 1946, p. 7]. Accessed 29 December 2022.</ref> In addition, his wife Sandra was a both a piano accompanist and voice teacher.<ref>[https://books.google.com/books?id=TGpQAAAAIBAJ&dq=Alfredo+Antonini&pg=PA54&article_id=4104,2912246 ''Alfredo, Sandra Antonini to give concert as gift to community'']
''St. Petersburg Times'', April 19, 1980 p. 54 on Google Books]</ref>

During the 1940s, he distinguished himself as a conductor of several leading orchestras while performing on [[CBS Radio]]. These included: the CBS Pan American Orchestra (1940–1949), as part of the [[cultural diplomacy]] initiative of the [[Department of State]] and the [[Office of the Coordinator of Inter-American Affairs]] during [[World War II]], the Columbia Concert Orchestra (1940–1949) and the [[CBS Symphony Orchestra]].<ref>Media Sound & Culture in Latin America & the Caribbean (eds. Bronfman, Alejandra & Wood, Andrew Grant). University of Pittsburgh Press, [[Pittsburgh, Pennsylvania|Pittsburgh, PA]], USA, 2012, pp. 48-49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Alfredo Antonini & The CBS Pan American Orchestra (see pp. 48-49)], books.google.com. Accessed 29 December 2022.</ref><ref>{{cite book|last=Anthony|first=Edwin D.|title=Records of the Office of Inter-American Affairs|volume=Inventory of Record Group 229|publisher=National Archives and Record Services - General Services Administration|location=Washington D.C.|year=1973|pages=1–8, 25–26|lccn=73-600146 |chapter-url=https://www.archives.gov/files/research/foreign-policy/related-records/rg-229-inter-american-affairs.pdf#page=33|chapter=Records of the Radio Division}}</ref> During the 1940s Antonini also led the [[Columbia Symphony Orchestra|CBS Symphony]] Orchestra in several recordings for the Voice of America broadcasting service.<ref name="auto1">{{Cite web|url=https://archives.nypl.org/search/rha/20484?q=CBS+Symphony+Alfredo+Antonini|title=archives.nypl.org -- Search results|website=archives.nypl.org}}</ref>

His performances with the CBS Pan American Orchestra were noteworthy for helping to introduce [[Latin American music]] and the Mexican [[bolero]] to large audiences in the United States.<ref>''Media Sound & Culture in Latin America & the Caribbean'' (eds. Bronfman, Alejandra & Wood, Andrew Grant). University of Pittsburgh Press, [[Pittsburgh, Pennsylvania]], USA, 2012, p. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Alfredo Antonini, CBS Pan American Orchestra Latin American Music], books.google.com. Accessed 29 December 2022.</ref>

===The 1940s: Radio===
[[File:Carnegie-hall-isaac-stern.jpg|thumb|upright=.85|left|[[Carnegie Hall]]]]
During the 1940s Antonini conducted live radio broadcasts of the program ''[[Viva America]]''<ref>[http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America] {{Webarchive|url=https://web.archive.org/web/20120206070142/http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America|date=6 February 2012}}</ref> on the [[CBS Radio]] and La Cadena de las Americas (Network of the Americas) in collaboration with several international artists including: [[Nestor Mesta Chayres]] (aka "El Gitano De Mexico"),<ref>{{cite web | url=http://www.bassanonline.com/1946-Nestor-Chayres-photo%2Ci180061834647%2Cc108730.html | archive-url=https://web.archive.org/web/20070930102243/http://www.bassanonline.com/1946-Nestor-Chayres-photo%2Ci180061834647%2Cc108730.html | archive-date=2007-09-30 | title=Advertisements }}</ref> [[Terig Tucci]], [[Juan Arvizu]] (aka ''"El Troubador de las Americas"''), [[Elsa Miranda]] ,<ref>[https://books.google.com/books?id=YBgEAAAAMBAJ&dq=Elsa+Miranda&pg=PT3 "Banana E.T. Proves Good Eating for Elsa Miranda"], ''Billboard'', 2 February 1946, p. 4 "Elsa Miranda and the radio show ''Viva America''" on https://books.google.com</ref> [[Eva Garza]],<ref>[http://frontera.library.ucla.edu/blog/2016/04/artist-biography-eva-garza Eva Garza biography, ''The Strachwitz Frontera collection of Mexican and Mexican American Recordings'' on frontera.library.ucla.edu]. Accessed 29 December 2022.</ref><ref>Deborah R. Vargas.
[https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''], University of Minnesota Press, Minneapolis, 2012, pp. 155-157; {{ISBN|978-0-8166-7316-2}}</ref> [[Kate Smith]],<ref>[https://www.gettyimages.com/detail/news-photo/left-to-right-actor-pat-obrien-and-cbs-radio-singer-kate-news-photo/905998976?adppopup=true Photograph of actor Pat O'Brien and singer Kate Smith on the Viva America program for CBS Radio on Getty Images.com]</ref> [[Pat O'Brien (actor)|Pat O'Brien]],<ref>[https://www.gettyimages.com/detail/news-photo/left-to-right-actor-pat-obrien-and-cbs-radio-singer-kate-news-photo/905998976?adppopup=true Photograph of actor Pat O'Brien and singer Kate Smith on the Viva America program for CBS Radio on Getty Images.com]</ref> and [[John Serry Sr.|John Serry]].<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music - University of Rochester - Sibley Music Library: John J. Serry Sr. Collection Autographed Photograph of John Serry accordionist on CBS' C de Las A program circa 1940s p. 3, Series 3, Collection Box 3, Item 1: The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref><ref>''The New York Times'', 9 June 1946, p. 49.{{title missing}}</ref><ref>''Media Sound & Culture in Latin America & the Caribbean'' (eds Bronfman, Alejandra & Wood, Andrew Grant). University of Pittsburgh Press, [[Pittsburgh, Pennsylvania|Pittsburgh, PA]], USA, 2012, p. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 https://books.google.com See p. 49]. Accessed 29 December 2022.</ref> He also appeared with Chayres and the New York Philharmonic in the ''Night of the Americas Concert'' series at [[Carnegie Hall]].,<ref>''The New York Times'', 12 May 1946, p. 42{{title missing}}</ref><ref>{{cite book |title=Members of NY Philharmonic Printed Program (Carnegie Pop Concert), May 11, 1946 at Carnegie Hall in Manhattan, NY; Alfredo Antonini, conductor |oclc=1050435196 |url=https://archives.nyphil.org/index.php/artifact/17e5b0d2-a12b-4626-9138-25f9cfc1cc16-0.1 }}</ref> which, according to ''[[The New York Times]]'', was eagerly anticipated by the general public.<ref>''The New York Times'', 17 May 1947, p. 8{{title missing}}</ref><ref>''The New York Times'', 4 May 1950, p. 37{{title missing}}</ref> Additional performances in collaboration with Arvizu and the CBS Tipica Orchestra for the ''Inter-America Music Fiesta'' at [[Carnegie Hall]] also attracted widespread acclaim.<ref>''The New York Times'', 27 October 1941, p. 21{{title missing}}</ref><ref>''The New York Times'', 1 February 1942, p. D2{{title missing}}</ref>

In 1946, Antonini recorded several popular Latin American songs on the album ''Latin American Music - Alfredo Antonini and Viva America Orchestra'' for Alpha Records (catalogue #'s 12205A, 12205B, 12206A, 12206B) including: ''Tres Palabras'' ([[Osvaldo Farres]]), ''Caminito de Tu Casa'' ([[Julio Alberto Hernández]]), ''Chapinita'' ([[Miguel Sandoval (composer)|Miguel Sandoval]]) and ''Noche De Ronda'' ([[Augustin Lara]]).<ref name="books.google.com">''Billboard'': "Advanced Record Releases - Alfredo Antonini and Viva America Orchestra", New York, Vol. 58 No. 14, 6 April 1946, pp. 34, 130 [https://books.google.com/books?id=3hkEAAAAMBAJ&dq=Billboard+April+6+1946+Antonini&pg=PT33 ''Latin American Music'' - Alfredo Antonini and Viva America Orchestra in ''Billboard''], books.google.com. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00522350&searchType=1&permalink=y ''Latin American Music''] catalog.loc.gov. Accessed 29 December 2022.</ref> Critical review of the albums in ''The New Records'' praised his conducting talents and hailed the collection as among the best new albums of Latin American music.<ref>The New Records. ''Latin American Music - Alfredo Antonini and Viva America orchestra'' H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, pp. 6-7</ref><ref>[https://archive.org/stream/TNR14/The%20New%20Records%20Vol%2014#page/n77/mode/2up/search/Alfredo+Antonini ''Latin American Music - Alfredo Antonini and Viva America Orchestra'' critical review of the album in ''The New Records'' (pp. 6-7)], archive.org. Accessed 29 December 2022.</ref>

{{external media|width=150px|image1=Photograph of Alfredo Antonini conductor CBS Pan American Orchestra on "[[Viva America]]" for CBS Radio in 1946 [https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995866?adppopup=true '''Here on Getty images''']}}
Later in the 1940s, Antonini collaborated with vocalist Victoria Cordova in a series of recordings for [[Muzak]], featuring compositions familiar to audiences in both North and South America. Included among these were: ''[[What a Difference a Day Made]]'' - [[Maria Grever]], ''[[You Belong to My Heart]]'' - [[Agustin Lara]], ''[[Siboney (song)|Siboney]]'' - [[Ernesto Lecuona]], ''[[Amor (Gabriel Ruiz song)|Amor]]'' - [[Gabriel Ruiz (composer)|Gabriel Ruiz]], ''[[Say It Isn't So (Irving Berlin song)|Say It Isn't So]]'' - [[Irving Berlin]], ''[[How Deep is the Ocean?|How Deep is the Ocean]]'' - [[Irving Berlin]] and ''[[A Perfect Day (song)|A Perfect Day]]'' - [[Carrie Jacobs-Bond]].<ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=10072&recCount=25&recPointer=7&bibId=12506525 "Victoria Cordova" and Alfredo Antonini Orchestra sound recording for Muzak archived in The Library of Congress Online Catalog at catalog.loc.gov]. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=10034&recCount=25&recPointer=3&bibId=13658991 "Victoria Cordova" and Alfredo Antonini Orcehatra sound recording for Muzak archived in the Library of Congress Online Catalog at catalog.loc.gov]. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=10056&recCount=25&recPointer=5&bibId=13447447 Victoria Cordova and Alfredo Antonini Orchestra sound recording for Muzak #1], catalog.loc.gov. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=25529&recCount=25&recPointer=1&bibId=13672049 Victoria Cordova and Alfredo Antonini Orchestra sound recording for Muzak #2], catalog.loc.gov. Accessed 29 December 2022.</ref> He also collaborated with the Latin group [[Los Panchos|Los Panchos Trio]] in a recording of the Chilean cueca dance ''La Palma'' for Pilotone records (#P45-5067).<ref>[https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 "La Palma" performed by Los Panchos Trio, Alfredo Antonini and the Viva America Orchestra on archive.org]. Accessed 29 December 2022.</ref> In addition, he recorded several songs for Columbia records with operatic baritone Carlo Morelli which included "[[La spagnola]]" (#17192-D), ''Alma Mia'' (#17192-D) ''Canta Il Mare'' (#17263-D), ''Si Alguna Vez'' (#17263-D).<ref>[https://archive.org/search.php?query=Alfredo%20Antonini Vocalist Baritone Carlo Morelli and Alfredo Antonini in performance on archive.org]</ref> Additional collaborators included: [[Nino Martini]] for a recording of the song ''[[Amapola (song)|Amapola]]'' (Columbia, #17202-D)<ref>[https://archive.org/details/78_amapola-pretty-little-poppy_nino-martini-alfredo-antonini-joseph-lacalle_gbia0021249b ''Amapola'' performed by Nino Martini and Alfredo Antonini on archive.org]. Accessed 29 December 2022.</ref> and Nestor Chayres for a recording of ''[[Granada (song)|Granada]]'' (Decca, #23770 A).<ref>[https://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a ''Granada'' performed by Nestor Chayres and Alfredo Antonini], archive.org. Accessed 29 December 2022.</ref>

At the close of the decade in 1948, Antonini also appeared as the conductor in the premier program of the [[Columbia Symphony Orchestra|CBS Symphony]] Summer Series which was broadcast live over the CBS Radio network.<ref>[https://books.google.com/books?id=ArVNAAAAIBAJ&dq=Alfredo+Antonini&pg=PA8&article_id=2390,2718782 "Distinguished Conductors, Soloists, Premiers of American WorksSlated For Summer Series of CBS Symphony" ''Your Radio Listening Post'' April 23, 1948 p. 14 on Google Books]</ref> During this time he also collaborated with leading orchestral musicians including [[Julius Baker]],<ref>[https://books.google.com/books?id=9qEuAAAAIBAJ&dq=Alfredo+Antonini+Pan+American+Orchestra&pg=PA65&article_id=4339,1244531 "Sunday Selections" ''Toledoo Blade'', June 12, 1948 p. 65 on Google Books]</ref><ref>[https://archives.nypl.org/rha/20484#c1272071 The New York Public Library Archives and manuscripts: "Voice of America Collection of Radio Broadcasts" June 13, 1948 Alfredo Antonini & Julius Baker on archives.nypl.org]</ref> and [[Mitch Miller]].<ref>[https://archives.nypl.org/rha/20484#c1272071 The New York Public Library Archives and manuscripts: "Voice of America Collection of Radio Broadcasts" June 13, 1948 Alfredo Antonini & Mitch Miller on archives.nypl.org]</ref> Several of his performances with the [[CBS Symphony Orchestra]] were also broadcast over the Voice of America network in 1948 and 1949.<ref>[https://archives.nypl.org/search/rha/20484?q=CBS+Symphony+Alfredo+Antonini Alfredo Antonini conducts the CBS Symphony Orchestra on Voice of America archived at the New York Public Library on archives.nypl.org]</ref> In addition, his recordings with the operatic vocalists Juan Arvizu and Nestor Mesta Chayres were transcribed during this time for broadcast by the [[Armed Forces Radio Network]].<ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&q=Alfredo%20Antonini ''The Directory of the Armed Forces Radio Service'' Mackenzie, Harry. Greenwood Press, London, 1999, p. 33 Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres on Google Books]</ref>

===The 1950s: Opera===
[[File:Ccny.JPG|thumb|upright=.85|left|[[City College of New York]] -[[Lewisohn Stadium]], New York City (1973)]]

During the 1950s, Antonini was a professor of music at St. John's University, located in Brooklyn, New York. He taught the Music Appreciation course. As a musical director for [[CBS Television]] during the 1950s, he was instrumental in presenting a program of classical and operatic music to the general public. His collaboration with [[Julie Andrews]], [[Richard Rodgers]], and [[Oscar Hammerstein II]] in a production of ''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'' for CBS television was telecast live in color on 31 March 1957 to an audience of 107 million.<ref>''The New York Times'', 31 March 1957, p. 106{{title missing}}</ref><ref>
Amy Asch.[https://books.google.com/books?id=TQIYt3kBqVAC&dq=Cinderella+Alfredo+Antonini&pg=PA380 ''The Completre Lyrics of Oscar Hammerstein II''], Alfred A. Knopf, New York, 2008, p. 380 https://books.google.com</ref><ref>[https://books.google.com/books?id=9XLEAQAAQBAJ&dq=Cinderella+Alfredo+Antonini&pg=PT108 "Cinderella (Television)" and Alfredo Antonini and Julie Andrews, ''The Rodgers and Hammerstein Collection''], Williamson Music, 2002; {{ISBN|9781458449801}}</ref> During this decade, he also appeared with several noted operatic sopranos including: [[Eileen Farrell]] and [[Beverly Sills]].<ref name="The New York Times 1956, pg. 26">''The New York Times'', 9 July 1956, p. 26.{{title missing}}</ref> Later in 1957, he became the musical director/conductor of the [[Tampa, Florida|Tampa]] Philharmonic Orchestra.<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>

In 1951 he also served as both the orchestra leader and the Choral leader for the CBS Radio program ''Music Land U.S.A'' which featured talented vocalists. Included on the broadcast were [[Lois Hunt]], [[Earl Wrightson]] and [[Thomas Hayward (tenor)|Thomas Hayward]].<ref>[https://www.gettyimages.com/detail/news-photo/music-land-usa-a-cbs-radio-program-featuring-singers-image-news-photo/1167062996?adppopup=true Photograph Music Land U.S.A. Alfredo Antonini, Lois Hunt, Earl Wrightson Thomas Hayward at CBS Radio in 1951 on Getty Images]</ref> These performances by the Alfredo Antonini Orchestra were included among several transcriptions of Antonini's work which were selected for broadcast to America's armed forces throughout the world by the [[Armed Forces Radio Network]] Service during the 1940's and 1950's.<ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&q=Alfredo%20Antonini ''The Directory of the Armed Forces Radio Service'' Mackenzie, Harry. Greenwood Press, London, 1999, p. 33, p.143, p. 151, p. 160, p. 162 on Google Books]</ref>

Antonini served as a conductor of the open-air summer concerts held at the landmark [[Lewisohn Stadium]] in New York City during the 1940s, 1950s and 1960s.<ref>[https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to= ''The New York Philharmonic - Leon Levy Digital Archives''], Programs of Alfredo Antonini conducting the New York Philharmonic. Accessed 29 December 2022.</ref> He appeared at least once during each season while featuring leading talent from the [[Metropolitan Opera]].<ref>[https://academicworks.cuny.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=3282&context=gc_etds ''City University of New York CUNY Academic Works - Music for the (American) People: The Concerts at Lewisohn Stadium 1922-1964'' Johnathan Stern. The City University of New York, New York, 2009, p. 204]</ref><ref>
Seven Frequent Stadium Conductors - Alfredo Antonini and starts from the Met at Lewisohn Stadium, academicworks.cuny.edu. Accessed 29 December 2022.</ref><ref>[https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to= ''The New York Philharmonic - Leon Levy Digital Archives'' - Programs of Alfredo Antonini conducting the New York Philharmonic and operatic soloists], archives.nyphil.org. Accessed 29 December 2022.</ref><ref>{{Cite web|url=https://www.wnyc.org/search/?q=Alfredo+Antonini|title=Search | WNYC | New York Public Radio, Podcasts, Live Streaming Radio, News|website=WNYC}}</ref> His appearances with the [[New York Philharmonic]] Symphony Orchestra and the Lewisohn Stadium Orchestra during the series of ''Italian Night'' concerts frequently attracted audiences which exceeded 13,000 guests. These performances featured arias from the standard Italian operatic repertoire and showcased such operatic luminaries as: [[Jan Peerce]], [[Eileen Farrell]], [[Richard Tucker (tenor)|Richard Tucker]], [[Beverly Sills]], [[Licia Albanese]],<ref>''Stadium Concerts Review'' - Stadium Symphony Orchestra, Herald Square Press, Volume XLII, No. 1, 22 June 1959, p. 17 [https://web.archive.org/web/20190204180000/https://archives.nyphil.org/index.php/artifact/64e03b3b-6294-4ff8-8e54-86245693a4ec-0.1/fullview#page/1/mode/2up ''Stadium Concerts Review'' program listing for Licia Albanese, Alfredo Antonini, Richard Tucker and The New York Philharmonic on 25 June 1959, p. 17 on nyphil.org]</ref> [[Eva Likova]],<ref name="Straus 1948 NYT">{{cite news |id={{ProQuest|108130355}} |last1=Straus |first1=Noel |title=OPERATIC EXCERPTS HEARD AT STADIUM; Alfredo Antonini Offers Italian Music Before 14,000 -- Four Soloists Join in Concert |url=https://www.nytimes.com/1948/07/02/archives/operatic-excerpts-heard-at-stadium-alfredo-antonini-offers-italian.html |work=The New York Times |date=2 July 1948 }}</ref> [[Robert Weede]],<ref name="Straus 1948 NYT"/> [[Cloe Elmo]]<ref name="Straus 1948 NYT"/> and [[Robert Merrill]].<ref name="The New York Times 1956, pg. 26"/><ref>''The New York Times'', 24 July 1950, pg. 26{{missing title}}</ref><ref>''The New York Times'', 11 July 1952, pg. 13{{missing title}}</ref><ref>''The New York Times'', 18 July 1952, pg 10{{missing title}}</ref><ref>''The New York Times'', 20 July 1953, pg. 14{{missing title}}</ref><ref>''The New York Times'', 10 July 1954, pg. 6{{missing title}}</ref><ref>''The New York Times'', 12 June 1955, pg. X7{{missing title}}</ref><ref>''The New York Times'', 14 May 1958, pg. 36{{missing title}}</ref><ref>''The New York Times'', 30 July 1958, pg. 19{{missing title}}</ref><ref>''The New York Times'', 6 May 1959, pg 48{{missing title}}</ref><ref>''The New York Times'', 14 May 1959, pg. 29{{missing title}}</ref>

===1950s-1970s: Television===
{{ external media | width= 150px |audio1 = You may listen to Alfredo Antonini conducting the [[New York Philharmonic]], [[Licia Albanese]], and [[Richard Tucker (tenor)|Richard Tucker]] performing operatic arias by [[Giacomo Puccini]] in 1959 [https://www.wqxr.org/story/licia-albanese-and-richard-tucker-all-puccini-program/ here]}}
Antonini’s work with CBS soon led to television work as that medium came to prominence in the 1950s. He composed half the scores and led the CBS Orchestra in performances for the popular documentary series, ''[[The Twentieth Century]]'' (1957-66).<ref>Richard C. Bartone, “[https://interviews.televisionacademy.com/shows/twentieth-century-the The Twentieth Century],” in The Encyclopedia of Television (1997, Museum of Broadcast Communications). </ref> He conducted the CBS Orchestra on the ''American Musical Theater'' documentary series (1959) which also featured [[Robert Weede]] and [[Laurel Hurley]].<ref>''Hearings- United States Senate'', Volume 8, U. S. Government Printing Office 1962, p. 2006</ref><ref>[https://books.google.com/books?id=1q7dCr0MgvQC&q=Alfredo+Antonini Alfredo Antonini, CBS Orchestra and New York City Board of Education], books.google.com. Accessed 29 December 2022.</ref><ref>[https://www.paleycenter.org/collection/item/?q=meet&p=64&item=T:54153 "American Musical Theater" - education television program featuring Alfredo Antonini on the paleycenter.org]</ref>
Other early network credits included the long-running ecumenical religious program, ''Lamp Unto My Feet'', and specials such as ''Cinderella'' and ''The Fabulous Fifties''.<ref name="Alfredo Antonini, 82 NYT 5Nov1983" />

Antonini continued to collaborate as a guest conductor with instrumental soloists, including [[Benny Goodman]] in 1960 for a performance of [[Mozart's Clarinet Concerto]] at Lewisohn Stadium.<ref>Stern, Jonathan. ''Music of the (American) People: The Concerts at Lewisohn Stadium, 1922-1964''. The City University of New York (CUNY) - Graduate Center, New York, 2009 pp. 204-205 [https://academicworks.cuny.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=3282&context=gc_etds Alfredo Antonini guest conductor on academicworks.cuny.edu]. Accessed 29 December 2022.</ref> In addition, he conducted the [[Symphony of the Air]] in the live prime-time television special ''Spring Festival of Music'' for [[CBS Television]]. This collaboration with the pianist [[John Browning (pianist)|John Browning]] and the producer [[Robert Herridge]] showcased a performance of a movement from Sergie Rachmaninoff's Second Piano Concerto.<ref name="Mi22WDcvoC p. 104">Brian G. Rose. [https://books.google.com/books?id=0bMi22WDcvoC&dq=John+Browning+Spring+Festival+of+Music+Alfredo+Antonini&pg=PA104 ''Television and the Performing Arts'']. Greenwood Press, New York 1986 p. 104; {{ISBN|0-313-24159-7}} Alfredo Antonini, Symphony of the Air, Robert Herridge and John Browning collaborating.</ref> The performance was noted for its musical excellence as well as its dramatic visual presentation on television.<ref name="Mi22WDcvoC p. 104" />

In 1962, Antonini collaborated with [[First Lady of the United States]] [[Jacqueline Kennedy]], director [[Franklin J. Schaffner]], and journalist [[Charles Collingwood (journalist)|Charles Collingwood]] of ''[[CBS News]]'' for the groundbreaking television documentary ''[[A Tour of the White House with Mrs. John F. Kennedy]]''. The documentary television program was watched by more than 80 million viewers throughout the world and received wide critical acclaim.<ref name="paleycenter.org">[https://www.paleycenter.org/collection/item/?q=cbs+television+w..&p=37&item=T76:0067 ''The Paley Center for Media - Tour of the White House with Mrs. John F. Kennedy - Music Director Alfredo Antonini''], paleycenter.org. Accessed 29 December 2022.</ref><ref name="ByzCAAAQBAJ p. 54">[https://books.google.com/books?id=9ByzCAAAQBAJ&dq=A+Tour+of+the+White+House+with+Mrs+Jacqueline+Kennedy+Charles+Collingwood&pg=PA54 ''The Cambridge Companion to John F. Kennedy''] (ed. Andrew Hoberick). Cambridge University Press, New York. 2015, p. 54; {{ISBN|978-1-107-04810-2}}</ref>

In 1964, Antonini appeared as conductor of the CBS Symphony Orchestra in an acclaimed adaptation of [[Hector Berlioz]]'s sacred oratorio ''[[L'enfance du Christ]]'' for CBS Television. His operatic soloists included: [[Sherrill Milnes]], [[Giorgio Tozzi]], [[Ara Berberian]], and [[Charles Anthony (tenor)|Charles Anthony]] as supported by the choral voices of the Camerata Singers.<ref name="nypl.org">{{Cite book|url=https://www.nypl.org/research/research-catalog/bib/b13911987|title=L'enfance du Christ: the childhood of Christ|date=January 1, 1964|publisher=CBS-TV|via=NYPL Research Catalog}}</ref> At this time, he collaborated as conductor for a televised episode of ''[[CBS Workshop|The CBS Repertoire Workshop]]'', "Feliz Borinquen", which showcased the talents of such leading Puerto Rican-American performers as: [[Martina Arroyo]] and [[Raul Davila]].<ref>[https://www.imdb.com/title/tt6249208/fullcredits?ref_=tt_ov_st_sm "Feliz Borinquen" with Alfredo Antonini, Martina Arroyo and Raul Davila on imdb.com]</ref>

[[File:Avery Fisher Hall with Henry Moore scupture.jpg|thumb|upright=.85|left|[[David Geffen Hall|Philharmonic Hall]] - [[Lincoln Center]] Avery Fisher Hall with Henry Moore sculpture]]
In addition to performing as a conductor on [[WOR (AM)|WOR]] radio in [[New York City]] during the 1940s, he appeared as a guest conductor for leading symphonic orchestras in Chicago, Milwaukee, Oslo, Norway and [[Chile]] during the 1950s. During this time he also founded the Tampa Philharmonic Orchestra in Tampa, Florida, which eventually merged into the Florida Gulf Coast Symphony.<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/> In the 1960s, Antonini also appeared as a guest conductor with the New York Philharmonic at [[Avery Fisher Hall|Philharmonic Hall]] during a grand opera benefit concert which featured the artistry of [[Jan Peerce]] and [[Robert Merrill]].<ref name="The New York Times 1964, pg. 114">''The New York Times'', 6 December 1964, p. 114{{title missing}}</ref> Throughout the 1960s he continued to collaborate with such operatic luminaries as Jan Peerce, [[Robert Merrill]],[[Franco Corelli]], [[Nicolai Gedda]], [[Giorgio Tozzi]], [[Gabriella Tucci]], and [[Dorothy Kirsten]] in a variety of gala concerts.<ref name="The New York Times 1964, pg. 114"/><ref>''The New York Times'', 14 November 1965, p. 101{{title missing}}</ref><ref>{{Cite web|url=https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to=|title=New York Philharmonic | Search Results|website=archives.nyphil.org}}</ref> He also performed with [[Roberta Peters]] at the [[Lewisohn Stadium]] at [[City College of New York|City College]].<ref>''The New York Times'', 30 July 1962, p. 14{{title missing}}</ref>

In 1971, Antonini served as musical director on the [[CBS Television]] premier of [[Ezra Laderman]]'s opera ''And David Wept'', earning an [[Emmy Award]] for Outstanding Achievement in Religious Programming (1972). He collaborated in this premier production with such operatic luminaries as [[Sherrill Milnes]], [[Rosalind Elias]], and [[Ara Berberian]].<ref>[https://books.google.com/books?id=Vp8nkGeJKiUC&q=And+David+Wept+&pg=PA242 ''American Aria Encore''] Sherrill Milnes. Amadeus Press, New York 2007 pp. 242-243; {{ISBN|978-157-467160-5}} Sherrill Milnes and Alfredo Antonini collaborating in "And David Wept".</ref><ref>Margaret Ross Griffel.
[https://books.google.com/books?id=Y8bQAwAAQBAJ&dq=And+David+Wept+Ara+Berberian&pg=PA19 ''Operas in English''], Scarecrow Press, UK2013 p. 19; {{ISBN|978-0-8108-8272-0}} "'And David Wept' premiered on CBS Television in 1971 with Sherrill Milnes and Ara Berberian"], books.google.com. Accessed 29 December 2022.</ref> Several years later, in 1975, he joined forces once again with Berberian and mezzo-soprano [[Elaine Bonazzi]] for the CBS television movie, ''A Handful of Souls''.<ref>{{Cite web|url=http://www.milkenarchive.org/artists/view/ezra-laderman/|title = Laderman, Ezra}}</ref><ref>Nina David. [https://books.google.com/books?id=EyFAAQAAIAAJ&q=Ellaine+Bonnazi+A+Handful+of+Souls+Alfredo+Antonini+1975 TV Season 1975-76], Oryx Press 1975 p. 83, ''A Handful of Souls''], books.google.com. Accessed 29 December 2022.</ref>

Antonini's collaborations at CBS Television extended beyond the realm of opera to include prominent figures from several professions including:
* Philanthropy - ([[John D. Rockefeller III]])
* Government - ([[Jacqueline Kennedy Onassis]])<ref name="paleycenter.org"/><ref name="ByzCAAAQBAJ p. 54"/>
* Journalism - ([[Charles Collingwood (journalist)|Charles Collingwood]])<ref name="paleycenter.org"/><ref name="ByzCAAAQBAJ p. 54"/> [[Walter Cronkite]],<ref name="Nehru : man of two worlds">{{cite AV media |title=Nehru : man of two worlds |oclc=8872925 }}</ref><ref name="The Nisei : the pride and the shame">{{cite AV media |title=The Nisei : the pride and the shame |oclc=11308336 }}</ref> [[Daniel Shorr]])
* Art - ([[Henry Moore]], [[Kenneth Clark]])
* Dance - ([[Mary Hinkson]])
* Drama - ([[John Alexander (actor)|John Alexander]], [[Julie Andrews]],<ref>{{cite AV media |title=Cinderella |oclc=422761879 }}</ref> [[Ingrid Bergman]],<ref name="Fe1HuVWVQwC p. 230">[https://books.google.com/books?id=tFe1HuVWVQwC&dq=Ingrid+Bergman+24+hours+in+a+woman%27s+life+Alfredo+Antonini&pg=PA230 ''The Complete Films of Ingrid Bergman'']. Citadel Press Carol Publishing Group, New York 1991 p. 230 "24 Hours in a Woman's Life" Credits: Ingrid Bergman and Alfredo Antonini on https://books.google.com</ref> [[Betty Comden]],<ref>[https://books.google.com/books?id=Of0QAAAAQBAJ&dq=The+Fabulous+Fifties+Alfredo+Antonini&pg=PA148 ''Television Specials''] Vincent Terrace. McFarland and Co, North Carolina 2013, p. 148; {{ISBN|978-0-7864-7444-8}} "The Fabulous Fifties" Credits: Alfredo Antonini and Betty Comden.</ref> [[Henry Fonda]],<ref>[https://books.google.com/books?id=Of0QAAAAQBAJ&dq=The+Fabulous+Fifties+Alfredo+Antonini&pg=PA148 ''Television Specials''] Vincent Terrace. McFarland and Co, North Carolina 2013, p. 148; {{ISBN|978-0-7864-7444-8}} "The Fabulous Fifties" Credits: Alfredo Antonini and Henry Fonda on https://books.google.com</ref> [[Jackie Gleason]],<ref>[https://books.google.com/books?id=Of0QAAAAQBAJ&dq=The+Fabulous+Fifties+Alfredo+Antonini&pg=PA148 ''Television Specials''] Vincent Terrace. McFarland and Co, North Carolina 2013, p. 148; {{ISBN|978-0-7864-7444-8}} "The Fabulous Fifties" Credits: Alfredo Antonini and Jackie Gleason .</ref> [[Steven Hill]], [[Ron Holgate]],<ref>G.K. Hall.
[https://books.google.com/books?id=uottAAAAMAAJ&q=Alfredo+Antonini+Ronald+Holgate ''Jewish Films in the United States''], University of Southern California, 1976, p. 266 "Alfredo Antonini conductor CBS Orchestra and Ronald Holgate" on https://books.google.com</ref> [[Celeste Holm]], [[Richard Kiley]],<ref>{{cite book |title=Studio one-- 'The landlady's daughter' |oclc=23903981 }}</ref> [[Howard Lindsay]],<ref>Jack Raymond. [https://books.google.com/books?id=6vr0AAAAMAAJ&q=Alfredo+Antonini+Julie+Andrews++Howard+Lindsay+ ''Show Music on Record''] ''Smithsonian Washington'' 1992, p. 226 Cinderella Credits: Julie Andrews, Howard Lindsay, and Alfredo Antonini on https://books.google.com</ref> [[Michael Redgrave]])
* Concert Stage - ([[Charles Anthony (tenor)|Charles Anthony]]<ref>Jerry L. McBride. [https://books.google.com/books?id=soYHkRcq0r4C&dq=Charles+Anthony+Alfredo+Antonini&pg=PA219 ''Douglas Moore: A Bibliography''] Music Library Association & A. R. Editions, Wisconsin. p. 219; {{ISBN|978-0-89579-666-0}} Charles Anthony and Alfredo Antonini on https://books.google.com</ref> [[John Browning (pianist)|John Browning]])<ref>Brian G. Rose. [https://books.google.com/books?id=0bMi22WDcvoC&dq=John+Browning+Spring+Festival+of+Music+Alfredo+Antonini&pg=PA104 ''Television and the Performing Arts'']. Greenwood Press, New York 1986 p. 104; {{ISBN|0-313-24159-7}}</ref>

==Death==
Alfredo Antonini died at the age of 82 during heart surgery in Clearwater, Florida, in 1983. He was buried in Sylvan Abbey Memorial Park cemetery in Clearwater and was survived by his wife Sandra and a son.<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/><ref name="Italian maestro dies during surgery"/>

==Compositions==
* ''The Great City''
* ''[[Sarabande]]''
* ''Sicilian Rhapsody''
* ''Suite for Cello and Orchestra''
* ''Preludes for Organ''
* ''Suite for Strings''
* ''The United States of America, Circa 1790''
* ''Mambo Tropical''

==Discography==
{{ external media |width=220px|audio1 = You may listen to Alfredo Antonini with lyric tenor [[Nino Martini]] in [[Joseph Lacalle]]'s song ''[[Amapola (song)|Amapola]]'' in 1940 [https://archive.org/details/78_amapola-pretty-little-poppy_nino-martini-alfredo-antonini-joseph-lacalle_gbia0021249b/Amapola+(Pretty+Little+Poppy)+-+Nino+Martini.flac '''here''']}}

* ''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'', vocalist [[Julie Andrews]], Columbia Masterworks (OL5190), 12 Inch LP, 1957?
* ''American Fantasy'', SESAC Records, 33 RPM LP, 195?
* ''Atmosphere By Antonini - Alfredo Antonini and His Orchestra'', Coral Records (LVA 9031), 33PRM LP, 1956<ref name="discogs.com">{{cite web| url = https://www.discogs.com/artist/531459-Alfredo-Antonini| title = Alfredo Antonini {{!}} Discography {{!}} Discogs| website = [[Discogs]]}}</ref>
* ''Romantic Classics'', SESAC Records, 33 RPM LP, 195?
* ''Aaron Copland/Hugo Weisgall/Alfredo Antonini - Twelve Poems of Emily Dickenson'', Columbia Masterworks (ML 5106), 33 RPM LP, 1956<ref name="discogs.com"/>
* ''Songs from Sunny Italy - Richard Tucker with Alfredo Antonini Conducting the Columbia Concert Orchestra'', Columbia Masterworks (ML 2155), 33 RPM LP, 1950<ref name="discogs.com"/>
* ''Alfredo Antonini and His Orchestra - Dances of Latin America'', London Records (LPB.294), 33 RPM LP, 1950<ref name="discogs.com"/>
* ''Alfredo Antonini & The Columbia Concert Orchestra'', soloist Richard Tucker, Columbia Masterworks (A-1540), 45 RPM, 195?
* ''Nestor Chayres Singing Romantic Songs of Latin America'', Alfredo Antonini conductor, Decca, 78 RPM, 1947<ref>{{Cite web|url=https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00726807&searchType=1&permalink=y|title=LC Catalog - No Connections Available|website=catalog.loc.gov|date=1947 }}</ref>
* ''Juan Arvizu, Troubador of the Americas'', Alfredo Antonini conductor, Columbia Records (#36663), 1941 78 RPM, 1941<ref>{{Cite web|url=https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00728857&searchType=1&permalink=y|title=LC Catalog - No Connections Available|website=catalog.loc.gov|date=1941 }}</ref><ref>{{Cite web|url=http://archive.org/details/78_duerme-time-was_juan-arvizu-and-the-c-b-s-tipica-orchestra-bermejo-alfredo-ant_gbia0021701|title=Juan Arvizu|date=December 1, 1941|via=Internet Archive}}</ref>
* ''Latin American Music - Alfredo Antonini and Viva America Orchestra'', Alfredo Antonini conductor of the Viva America Orchestra, Elsa Miranda vocalist, Alpha Records (#12205) 78 RPM, 1946<ref>{{Cite web|url=https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00522350&searchType=1&permalink=y|title=LC Catalog - No Connections Available|website=catalog.loc.gov}}</ref><ref name="books.google.com"/>
* ''Richard Tucker: Just For You with Alfredo Antonini and the Columbia Symphony Orchestra'', Columbia Masterworks (A-1619-1), 45 RPM,195?<ref name="discogs.com"/>
* ''Amapola'' (Joseph Lacalle), vocalist [[Nino Martini]], Columbia (#17202-D) 78 RPM, 194?<ref>{{Cite web|url=http://archive.org/details/78_amapola-pretty-little-poppy_nino-martini-alfredo-antonini-joseph-lacalle_gbia0021249b|title=Amapola (Pretty Little Poppy)|date=January 1, 1940|via=Internet Archive}}</ref>
* ''Bolero - No Me Lo Digas'' (Maria Grever), vocalist Nino Martini, Columbia (#17202-D), 194?<ref>{{Cite web|url=http://archive.org/details/78_bolero-no-me-lo-digas-dont-ever-tell-me_nino-martini-alfredo-antonini-maria-gr_gbia0021249a|title=Bolero (No Me Lo Digas) (Don't Ever Tell Me)|date=January 1, 1940|via=Internet Archive}}</ref>
{{ external media |width=220px|audio1 = You may listen to Alfredo Antonini with [[Juan Arvizu]] and [[John Serry Sr.]] performing ''Vival Sevilla'', ''Mi Sarape'', ''Que Paso?'', ''El Bigote de Tomas'', ''De Donde?'' in 1942 [https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/05+-+Mi+Sarape+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac '''here''']}}
* ''Nestor Chayres & Alfredo Antonini'', Decca (#23770), 78 RPM<ref name="discogs.com"/>
* ''Granada'' (Agustin Lara), vocalist Nestor Chayres, Decca (#23770), 78 RPM (1946)<ref>{{Cite web|url=http://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a|title=Granada|date=April 30, 1946|via=Internet Archive}}</ref>
* ''Noche de Ronda'' (Maria Teressa Lara), vocalist Nestor Chayres, Decca (#23770), 78 RPM (1946)<ref>{{Cite web|url=http://archive.org/details/78_noche-de-ronda_nestor-chayres-maria-teresa-lara-alfredo-antonini_gbia0021459b|title=Noche de Ronda|date=April 30, 1946|via=Internet Archive}}</ref>
* ''La Palma'', Los Panchos Trio, Pilotone (#P45 5067), 78 RPM (194?)<ref name="auto">{{Cite web|url=http://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808|title=La Palma; Rosa Negra|via=Internet Archive}}</ref>
* ''Rosa Negra'', Alfredo Antonini Viva America Orchestra, Pilotone (#P45 5069), 78 RPM (194?)<ref name="auto"/>
* ''Alfredo Antonini and The [[Viva America]] Orchestra - Chiqui, Chiqui, Cha/Caminito De Tu Casa'', Bosworth Music (BA.251), 78 RPM, (194?)<ref name="discogs.com"/>
* ''Music of the Americas'', Pilotone Album, 78 RPM LP, 194?
* ''[[La spagnola]]'' (V. Di Chiara), vocalist Carlo Morelli, Columbia (#17192D) 78 RPM (194?)<ref>{{Cite web|url=http://archive.org/details/78_la-spagnola-the-spanish-one_carlo-morelli-alfredo-antonini-v-di-chiara_gbia0034816b|title=La Spagnola (The Spanish One)|date=January 1, 1940|via=Internet Archive}}</ref>
* ''Alma Mia'' (Maria Grever), vocalist Carlo Morelli, Columbia (#17192D) 78 RPM (194?)<ref>{{Cite web|url=https://archive.org/details/78_alma-mia-my-soul_carlo-morelli-alfredo-antonini-maria-grever_gbia0034816a|title=Alma Mia (My Soul) : Carlo Morelli : Free Download, Borrow, and Streaming : Internet Archive|date=1940 }}</ref>
* ''Viva Sevilla!'' and ''Noche de Amor'' vocalist Juan Arvizu, Columbia (#36664) 78 RPM (194?)<ref name="auto2">{{Cite web|url=http://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640|title=Viva Sevilla!; Noche de Amor; Mi Sarape; Que Paso?; El Bigote de Tomas; De Donde?|date=January 28, 1942|via=Internet Archive}}</ref>
* ''Mi Sarape'' and ''Que Paso?'' vocalist Juan Arvizu, Columbia (#36665) 78 RPM (194?)<ref name="auto2"/>
* ''El Bigot de Tomas'' and ''De Donde?'' vocalist Juan Arvizu, Columbia (#36666) 78 RPM (194?)<ref name="auto2"/>
* ''Canta Il Marie'' (Mazzola) and ''Si Alguna Vez'' (Ponce) vocalist Carlo Morelli Columbia (#17263-D) 78 RPM<ref>{{Cite web|url=http://archive.org/details/78_canta-il-mare-song-of-the-sea_carlo-morelli-alfredo-antonini-mazzola-de-leva_gbia0034815a|title=Canta Il Mare (Song of the Sea)|date=January 1, 1940|via=Internet Archive}}</ref>
* ''Esta Noche Ha Pasado'' (Sabre Marrequin) vocalist Luis G. Roldan, Columbia (#6201-x) 78 RPM (194?)<ref>{{Cite web|url=http://archive.org/details/78_esta-noche-ha-pasado_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-c_gbia0033510b|title=Esta Noche Ha Pasado|via=Internet Archive}}</ref>
* ''Tres Palabras'' (Osvaldo Farres) vocalist Luis G. Roldan, Columbia (#6201-x) 78 RPM (194?)<ref>{{Cite web|url=http://archive.org/details/78_tres-palabras_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-cbs-os_gbia0033510a|title=Tres Palabras|via=Internet Archive}}</ref>

==Filmography==
[[File:Charles Collingwood murrow27s boys.jpg|thumb|upright=.85|right|''[[A Tour of the White House with Mrs. John F. Kennedy]]'' (1962) [[Jacqueline Kennedy]] and [[Charles Collingwood (journalist)|Charles Collingwood]] Charles Collingwood murrow27s boys]]
*''A Handful of Souls'' - (TV Movie, Conductor, 1975)<ref>[https://books.google.com/books?id=BqIRQ2iTk6sC&q=A+Handful+of+Souls+and++Alfredo+Antonini ''TV Season 76-77''] Nina David. Greenwood Pub Group, 1978 p. 108 Alfredo Antonini and A Handful of Souls in https://books.google.com</ref>
*''And David Wept'' - (TV Movie, music director, 1971)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
*''Gauguin in Tahiti: The Search for Paradise'' - (TV Documentary, Conductor, 1967)
*''The Emperor's New Clothes'' - (TV Movie, Conductor, 1967)
*''The Twentieth Century'' - ''Nehru: Man of Two Worlds'' - (CBS-TV, Conductor, 1966)<ref name="Nehru : man of two worlds"/>
*''[[Where the Spies Are]]'' - (Film, Conductor, 1966)
*''[[CBS Reports]]'' - (TV Documentary series, Conductor, 1965)
*''The Twentieth Century'' - ''The Nisei: The Pride and the Shame'' (CBS Documentary, Conductor, 1965)<ref name="The Nisei : the pride and the shame"/>
*''Jack and the Beanstalk'' - (TV Movie, Conductor, 1965)
*''Pinocchio'' (TV Movie, Conductor, 1965)
*''L'Enfance du Christ'' - (TV Movie, Conductor, 1964) <ref name="nypl.org"/>
*''CBS Repertoire Workshop'' - (TV Series, Conductor, 1964)
*''The Twentieth Century'' - (CBS-TV Documentary Series, musical director, conductor, 1957-66)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/><ref>[https://books.google.com/books?id=IMVADwAAQBAJ&dq=The+Incredible+Turk+CBS+Alfredo+Antonini&pg=PA137 ''TV in the USA: A History of Icons Idols and Ideas - Volume I 1950s–1960s''] Vincent Lobrutto. Greenwood, Santa Barbara. 2018 p. 137–138 {{ISBN|978-1-4408-2972-7}} The Twentieith Century (1957-1970) Alfredo Antonini composer and the CBS Orchestra on https://books.google.com</ref>
*''Arias and Arabesques'' - (TV Movie, Conductor, 1962)<ref>[https://books.google.com/books?id=soYHkRcq0r4C&dq=Airias+and+Arabesques+Alfredo+Antonini&pg=PA219 ''Douglas Moore - A Bio-Bibliography''] Jerry L. McBride. Music Library Association & A. R. Edwards, Wisconsin. 2011 p. 219 {{ISBN|978-0-89579-666-0}} Arias and Arabesques CBS telecast and Alfredo Antonini 1962 on https://books.google.com</ref>
*''Cabeza de Vaca'' - (TV Movie, Conductor, 1962)<ref>[https://books.google.com/books?id=KzA9AAAAMAAJ&q=Cabeza+de+Vaca+Alfredo+Antonini ''Music Courier Volume 164''] 1962 p. 51 Cabeza de Vaca and Alfredo Antonini and the CBS Symphony on https://books.google.com</ref><ref>[https://books.google.com/books?id=0ecaAQAAMAAJ&q=Alfredo+Antonini ''Biblion: the Bulletin of the New York Public Library''] The New York Public Library, New York 1992 p. 129 Cabeza de Vaca premiered by Alfredo Antonini on the CBS network in 1962 on https://books.google.com</ref>
*''[[A Tour of the White House with Mrs. John F. Kennedy|A Tour of the White House]]'' - (TV Documentary, musical director, 1962)<ref name="paleycenter.org"/>
*''An Act of Faith'' - (TV Movie, musical director, 1961)<ref>{{cite AV media |title=An act of faith |oclc=4013150 }}</ref>
*''Twenty-Four Hours in a Woman's Life'' - (TV Movie, Conductor, 1961)<ref name="Fe1HuVWVQwC p. 230"/>
*''And On Earth, Peace'' - (TV Movie, Composer, 1961)
*''Spring Festival of Music: American Soloists'' - (TV Movie, Self, 1960)<ref>[https://books.google.com/books?id=0bMi22WDcvoC&dq=Spring+Festival+of+Music%3A+American+Soloists+CBS&pg=PA104 ''Television and the Performing Arts - A Handbook and Reference Guide to American Cultural Programing''] Brian G. Rose. Greenwood Press, New York. 1986 p. 104 {{ISBN|0-313-24159-7}} Spring Festival of Music on CBS conducted by Alfredo Antonini on https://books.google.com</ref>
*''The Right Man'' - (TV Movie, Conductor, 1960)
*''The Fabulous Fifties'' - (TV Documentary, musical director, 1960)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
*''The Twentieth Century'' - ''The Movies Learn to Talk'' - (CBS documentary, Conductor, 1959) <ref>{{cite AV media |title=The movies learn to talk |oclc=78115285 }}</ref>
*''The American Musical Theater'' (CBS-TV documentary series, Conductor,1959)<ref>{{cite AV media |title=The American musical theater |oclc=422883733 }}</ref>
*''The Twentieth Century'' - ''The Incredible Turk'' (TV Documentary, Conductor, 1958)<ref>[https://books.google.com/books?id=IMVADwAAQBAJ&dq=The+Incredible+Turk+CBS+Alfredo+Antonini&pg=PA137 ''TV in the USA: A History of Icons Idols and Ideas - Volume I 1950s–1960s''] Vincent Lobrutto. Greenwood, Santa Barbara. 2018 p. 137–138 {{ISBN|978-1-4408-2972-7}} The Twentieith Century (1957–1970)-The Incredibile Turk Alfredo Antonini composer and the CBS Orchestra on https://books.google.com</ref>
*''[[The Seven Lively Arts]]'' - (TV Series, musical director, 1957)
*''[[Air Power (TV series)|Air Power]]'' - (TV Documentary, musical director, 1956–1957)<ref>[https://books.google.com/books?id=sqhkAAAAMAAJ&q=Airpower+Walter+Cronkite+Alfredo+Antonini ''Special Edition - A Guide to Network Television Documentary Series and Special News 1955-1979''] Daniel Einstein. Scarecrow Press 1987 p. 68 Airpower, Walter Cronkite and Alfredo Antonini conducting the CBS Symphony on https://books.google.com</ref><ref>[https://books.google.com/books?id=8rLVvClhs04C&dq=Airpower+Walter+Cronkite+Alfredo+Antonini&pg=PA138 ''The Decade that Shaped Television News - CBS in the 1950s''] Sig Mickelson. Praeger, Conn., 1998 p. 138-139 {{ISBN|0-275-95567-2}} Walter Cronkite, Airpower and Alfredo Antonini conductor of the CBS Orchestra on https://books.google.com</ref>
*''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'' - (TV Special, music director, 1957)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
*''Studio One: Circle of Guilt'' - (CBS-TV, Conductor, 1956)<ref>{{cite AV media |title=Studio one. Circle of guilt |oclc=423379465 }}</ref>
{{external media|width=200px|image1=Photograph of Alfredo Antonini: conductor circa 1930 [https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&doctype=visual '''Here on Archives.nyphil''']}}
*''Studio One: Dino'' - (CBS-TV, music director, 1956) <ref>{{cite AV media |title=Studio one. Dino |oclc=423379532 }}</ref>
*''Studio One: Star-Spangled Soldier'' - (CBS-TV, Music, 1956) <ref>{{cite AV media |title=Studio one. Star-spangled soldier |oclc=423379723 }}</ref>
*''[[Studio One in Hollywood]]'' - (TV Series, music director, 1954)<ref>{{cite AV media |title=Studio one: The remarkable incident at Carson Corners |oclc=34607051 }}</ref>
*''Studio One: Dark Possession'' - (CBS-TV, Musical consultant, 1954)<ref>{{cite AV media |title=Studio one. Dark possession |oclc=423379475 }}</ref>
*''Studio One: Let me Go, Lover'' - (CBS-TV, music director, 1954)<ref>{{cite AV media |title=Studio one. Let me go, lover |oclc=423379622 }}</ref>
*''Studio One: Dry Run'' - (CBS-TV, Music, 1953) <ref>{{cite AV media |title=Studio one. Dry run |oclc=423379541 }}</ref>
*''[[The Jane Froman Show]]'' - (TV Series, Conductor, 1952)<ref>[https://books.google.com/books?id=w8KztFy6QYwC&dq=The+Jane+Frowman+Show+Alfredo+Antonini&pg=PA693 ''The Complete Directory to Prime Time Network and Cable TV Shows 1946 - Present''] Tim Brooks and Earl Marsh. Ballantine Books, New York. 2007 p. 693 {{ISBN|978-0-345-49773-4}} Jane Froman's USA Canteen (aka Jane Froman Show) CBS Alfredo Antonini Orchestra on https://books.google.com</ref>
*''The Cabinet of Dr. Caligari'' - (TV Movie, Composer, 1920)<ref>{{cite AV media |title=Das Cabinet des Dr Caligari |oclc=1041369189 }}</ref>

==Awards==
* Primetime [[Emmy]] Award for Outstanding Achievement in Religious Programming (1972)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/><ref name="TCUTBQAAQBAJ p. 394"/>
* Award for Distinguished Service to Music from the National Association for American Composers and Conductors<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
* Title of [[Commander (order)|Commendatore]] awarded by the President of Italy (1977)<ref name="Italian maestro dies during surgery"/><ref name="quirinale.it">{{Cite web|url=http://www.quirinale.it/elementi/Onorificenze.aspx?pag=0&qIdOnorificenza=&cognome=Antonini&nome=Alfredo&daAnno=1800&aAnno=2017&luogoNascita=&testo=&ordinamento=2|title=Alfredo Antonini on Presidenza della Repubblica}}</ref>
* [[Order of Merit of the Italian Republic]] (1980)<ref name="Italian maestro dies during surgery"/><ref name="quirinale.it"/>

==Archived works==
* Selected scores of compositions by Alfredo Antonini broadcast on the CBS television network are archived within the CBS Collection of Manuscript Scores 1890–1972 at the [[New York Public Library for the Performing Arts]] at Lincoln Center in New York City, New York.<ref>{{Cite web|url=https://archives.nypl.org/mus/25793|title=archives.nypl.org -- CBS collection of manuscript scores|website=archives.nypl.org}}</ref><ref>{{Cite web|url=https://archives.nypl.org/controlaccess/106237?term=Antonini,+Alfredo|title=archives.nypl.org -- Search results|website=archives.nypl.org}}</ref>
* Selected sound recordings featuring Alfredo Antonini conducting the [[CBS Symphony Orchestra]] for [[Voice of America]] are archived at the New York Public Library for the Performing Arts at Lincoln Center in New York City, New York.<ref name="auto1"/>
* Selected concert programs, musical scores, scrape books and business documents by Alfredo Antonini are archived online at the [[New York Philharmonic]] - Shelby White and Leon Levy Digital Archives.<ref>[https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to= The New York Philharmonic Archive. Alfredo Antonini on archives.nyphil.org]</ref>

==Professional affiliations==

* American Society of Composers, Authors and Publishers [[ASCAP]] (1948)<ref name="ReferenceA">{{Cite web|url=https://www.imdb.com/name/nm0031350/|title=Alfredo Antonini|website=[[IMDb]]}}</ref>

==References==
<references/>

==External links==
*[https://archive.org/search.php?query=Alfredo%20Antonini Alfredo Antonini on archive.org]
*[http://frontera.library.ucla.edu/frontera-search?keywords=Alfredo+Antonini Alfredo Antonini recordings archived in The Strachwitz Frontera Collection of Mexican and Mexican American Recordings at the University of California Los Angeles on frontera.library.ucla.edu]
*[https://archives.nypl.org/search/rha/20484?q=CBS+Symphony+Alfredo+Antonini Alfredo Antonini audio recordings with the CBS Symphony Orchestra archived at the New York Public Library at archives.nypl.org]
*[http://library.juilliard.edu/search/?searchtype=a&SORT=D&searcharg=Antonini%2C+Alfredo Alfredo Antonini at The Juilliard School of Music Libraries]
* {{IMDb name|0031350}}
*[https://www.worldcat.org/search?q=Alfredo+Antonini Alfredo Antonini on Worldcat.org]
*[https://www.gettyimages.co.nz/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995866?adppopup=true Photograph of Alfredo Antonini on the" Viva America" radio program at CBS (March 8, 1946) on Getty Images]
*{{Find a Grave|45078083}}

{{Authority control}}

{{DEFAULTSORT:Antonini, Alfredo}}
[[Category:1901 births]]
[[Category:1983 deaths]]
[[Category:American male composers]]
[[Category:American male conductors (music)]]
[[Category:Primetime Emmy Award winners]]
[[Category:Italian composers]]
[[Category:Italian male composers]]
[[Category:Italian conductors (music)]]
[[Category:Italian male conductors (music)]]
[[Category:20th-century American conductors (music)]]
[[Category:20th-century American composers]]
[[Category:20th-century Italian musicians]]
[[Category:20th-century American male musicians]]
[[Category:Italian emigrants to the United States]]

Alfredo Antonini

2024-10-03T23:26:37Z

160.72.80.178: ''Minor edit===>removed dead external media link''~~~~NHPL

{{Short description|Italian-American conductor}}
{{Infobox person
|image=
|caption=
|birth_name=Alfredo Antonini
|birth_place=[[Alessandria]], [[Kingdom of Italy]]{{Flag|Italy}}
|birth_date={{birth date|1901|5|31}}
|death_date={{death date and age|1983|11|3|1901|5|31}}
|occupation= Conductor, Composer, Musical Director
|years_active = 1921–1977
|awards = [[Emmy Award]] [[Order of Merit of the Italian Republic]]
|spouse= Alexandra Catherine Pasimeni (m. 1948)
}}
'''Alfredo Antonini''' (May 31, 1901 – November 3, 1983) was a leading Italian-American symphony conductor and [[composer]] who was active on the international concert stage as well as on the [[CBS]] radio and television networks from the 1930s through the early 1970s.<ref>''The New York Times'', July 2, 1948, pg. 24{{title missing}}</ref><ref>''The New York Times'', October 5, 1948, pg. 30{{title missing}}</ref><ref>''The New York Times'', April 25, 1957, pg. 34{{title missing}}</ref><ref>''The New York Times'', February 12, 1960, pg. 22{{title missing}}</ref> In 1972 he received an [[Emmy Award]] for Outstanding Achievement in Religious Programming on television for his conducting of the premiere of [[Ezra Laderman]]'s opera ''And David Wept'' for CBS television during 1971.<ref name="central">{{cite web|url=http://www.cpanda.org/pdfs/csob/csob/2502.pdf|title=Obituaries: Conductor Alfredo Antonini|work=Central Opera Service Bulletin, Vol. 25, No. 2|date=Winter–Spring 1984|access-date=2010-09-27|archive-date=2011-07-26|archive-url=https://web.archive.org/web/20110726105954/http://www.cpanda.org/pdfs/csob/csob/2502.pdf|url-status=dead}}</ref><ref name="TCUTBQAAQBAJ p. 394">[https://books.google.com/books?id=TCUTBQAAQBAJ&dq=Alfredo+Antonini+Emmy+Award&pg=PA394 ''Entertainment Awards''] Don Franks. McFarland and Co., London, 2005 p. 394 {{ISBN|0-7864-1798-6}} ''Emmy Awards 1972 Outstanding Achievement in Religious Programming - Alfredo Antonini'' on https://books.google.com</ref> In addition, he was awarded the [[Order of Merit of the Italian Republic]] in 1980 <ref>{{Cite web|url=https://www.quirinale.it/onorificenze/insigniti/249852|title=Le onorificenze della Repubblica Italiana|website=www.quirinale.it}}</ref><ref name="Italian maestro dies during surgery">{{cite news |id={{ProQuest|387196129}} |title=Italian maestro dies during surgery |newspaper=The Globe and Mail |date=5 November 1983 |page=E.5 }}</ref>

== Biography ==
Antonini was born in [[Alessandria]] and pursued his musical studies at the [[Milan Conservatory|Royal Conservatory]] in Milan.<ref>{{cite web |title=Alfredo Antonini profile |url=https://www.allmusic.com/artist/alfredo-antonini-mn0002170846 |website=allmusic.com |language=en}}</ref><ref name="HeBu">{{cite web|url=https://www.hebu-music.com/en/musician/alfredo-antonini.7791/|title= Alfredo Antonini profile|publisher=HeBu|accessdate=30 March 2021|language=German}}</ref> He was a student of the Italian conductor [[Arturo Toscanini]], whom he first met at the age of thirteen while performing on the celesta in the Italian premier of Igor Stravinsky's ''[[Petrouchka]]''.<ref>[https://www.nypl.org/research/research-catalog/bib/b16843391 New York Public Library Research Catalogue: "Interview With Alfredo Antonini" Grauer, Ben. 10 June 1963 Alfredo Antonini on nypl.org/research-catalog]</ref> He distinguished himself as both an organist and pianist with [[La Scala]] Orchestra in Milan prior to emigrating to the United States in 1929.<ref>''Latin American Music - Alfredo Antonini and Viva America orchestra''. H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, pp. 6-7 [https://archive.org/stream/TNR14/The%20New%20Records%20Vol%2014#page/n77/mode/2up/search/Alfredo+Antonini ''Latin American Music - Alfredo Antonini and Viva America Orchestra'' critical review of the album and brief biography of Antonini in ''The New Records'', pp. 6–7 on archive.org]. Accessed 29 December 2022.</ref><ref name="Alfredo Antonini, 82 NYT 5Nov1983">{{cite news |title=Alfredo Antonini, 82; Led CBS Symphony |url=https://www.nytimes.com/1983/11/05/obituaries/no-headline-019832.html |work=The New York Times |date=5 November 1983 }}</ref> His musical talents were shared by his father who served as a member of the [[Buenos Aires Opera]] company at the [[Teatro Colón]] after leaving Italy for Argentina.<ref>[https://archive.org/details/TNR14/page/n77/mode/2up?view=theater&q=Alfredo+Antonini The New Records: Latin American Music Review, October 1946, p. 7]. Accessed 29 December 2022.</ref> In addition, his wife Sandra was a both a piano accompanist and voice teacher.<ref>[https://books.google.com/books?id=TGpQAAAAIBAJ&dq=Alfredo+Antonini&pg=PA54&article_id=4104,2912246 ''Alfredo, Sandra Antonini to give concert as gift to community'']
''St. Petersburg Times'', April 19, 1980 p. 54 on Google Books]</ref>

During the 1940s, he distinguished himself as a conductor of several leading orchestras while performing on [[CBS Radio]]. These included: the CBS Pan American Orchestra (1940–1949), as part of the [[cultural diplomacy]] initiative of the [[Department of State]] and the [[Office of the Coordinator of Inter-American Affairs]] during [[World War II]], the Columbia Concert Orchestra (1940–1949) and the [[CBS Symphony Orchestra]].<ref>Media Sound & Culture in Latin America & the Caribbean (eds. Bronfman, Alejandra & Wood, Andrew Grant). University of Pittsburgh Press, [[Pittsburgh, Pennsylvania|Pittsburgh, PA]], USA, 2012, pp. 48-49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Alfredo Antonini & The CBS Pan American Orchestra (see pp. 48-49)], books.google.com. Accessed 29 December 2022.</ref><ref>{{cite book|last=Anthony|first=Edwin D.|title=Records of the Office of Inter-American Affairs|volume=Inventory of Record Group 229|publisher=National Archives and Record Services - General Services Administration|location=Washington D.C.|year=1973|pages=1–8, 25–26|lccn=73-600146 |chapter-url=https://www.archives.gov/files/research/foreign-policy/related-records/rg-229-inter-american-affairs.pdf#page=33|chapter=Records of the Radio Division}}</ref> During the 1940s Antonini also led the [[Columbia Symphony Orchestra|CBS Symphony]] Orchestra in several recordings for the Voice of America broadcasting service.<ref name="auto1">{{Cite web|url=https://archives.nypl.org/search/rha/20484?q=CBS+Symphony+Alfredo+Antonini|title=archives.nypl.org -- Search results|website=archives.nypl.org}}</ref>

His performances with the CBS Pan American Orchestra were noteworthy for helping to introduce [[Latin American music]] and the Mexican [[bolero]] to large audiences in the United States.<ref>''Media Sound & Culture in Latin America & the Caribbean'' (eds. Bronfman, Alejandra & Wood, Andrew Grant). University of Pittsburgh Press, [[Pittsburgh, Pennsylvania]], USA, 2012, p. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Alfredo Antonini, CBS Pan American Orchestra Latin American Music], books.google.com. Accessed 29 December 2022.</ref>

===The 1940s: Radio===
[[File:Carnegie-hall-isaac-stern.jpg|thumb|upright=.85|left|[[Carnegie Hall]]]]
During the 1940s Antonini conducted live radio broadcasts of the program ''[[Viva America]]''<ref>[http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America] {{Webarchive|url=https://web.archive.org/web/20120206070142/http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America|date=6 February 2012}}</ref> on the [[CBS Radio]] and La Cadena de las Americas (Network of the Americas) in collaboration with several international artists including: [[Nestor Mesta Chayres]] (aka "El Gitano De Mexico"),<ref>{{cite web | url=http://www.bassanonline.com/1946-Nestor-Chayres-photo%2Ci180061834647%2Cc108730.html | archive-url=https://web.archive.org/web/20070930102243/http://www.bassanonline.com/1946-Nestor-Chayres-photo%2Ci180061834647%2Cc108730.html | archive-date=2007-09-30 | title=Advertisements }}</ref> [[Terig Tucci]], [[Juan Arvizu]] (aka ''"El Troubador de las Americas"''), [[Elsa Miranda]] ,<ref>[https://books.google.com/books?id=YBgEAAAAMBAJ&dq=Elsa+Miranda&pg=PT3 "Banana E.T. Proves Good Eating for Elsa Miranda"], ''Billboard'', 2 February 1946, p. 4 "Elsa Miranda and the radio show ''Viva America''" on https://books.google.com</ref> [[Eva Garza]],<ref>[http://frontera.library.ucla.edu/blog/2016/04/artist-biography-eva-garza Eva Garza biography, ''The Strachwitz Frontera collection of Mexican and Mexican American Recordings'' on frontera.library.ucla.edu]. Accessed 29 December 2022.</ref><ref>Deborah R. Vargas.
[https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''], University of Minnesota Press, Minneapolis, 2012, pp. 155-157; {{ISBN|978-0-8166-7316-2}}</ref> [[Kate Smith]],<ref>[https://www.gettyimages.com/detail/news-photo/left-to-right-actor-pat-obrien-and-cbs-radio-singer-kate-news-photo/905998976?adppopup=true Photograph of actor Pat O'Brien and singer Kate Smith on the Viva America program for CBS Radio on Getty Images.com]</ref> [[Pat O'Brien (actor)|Pat O'Brien]],<ref>[https://www.gettyimages.com/detail/news-photo/left-to-right-actor-pat-obrien-and-cbs-radio-singer-kate-news-photo/905998976?adppopup=true Photograph of actor Pat O'Brien and singer Kate Smith on the Viva America program for CBS Radio on Getty Images.com]</ref> and [[John Serry Sr.|John Serry]].<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music - University of Rochester - Sibley Music Library: John J. Serry Sr. Collection Autographed Photograph of John Serry accordionist on CBS' C de Las A program circa 1940s p. 3, Series 3, Collection Box 3, Item 1: The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref><ref>''The New York Times'', 9 June 1946, p. 49.{{title missing}}</ref><ref>''Media Sound & Culture in Latin America & the Caribbean'' (eds Bronfman, Alejandra & Wood, Andrew Grant). University of Pittsburgh Press, [[Pittsburgh, Pennsylvania|Pittsburgh, PA]], USA, 2012, p. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 https://books.google.com See p. 49]. Accessed 29 December 2022.</ref> He also appeared with Chayres and the New York Philharmonic in the ''Night of the Americas Concert'' series at [[Carnegie Hall]].,<ref>''The New York Times'', 12 May 1946, p. 42{{title missing}}</ref><ref>{{cite book |title=Members of NY Philharmonic Printed Program (Carnegie Pop Concert), May 11, 1946 at Carnegie Hall in Manhattan, NY; Alfredo Antonini, conductor |oclc=1050435196 |url=https://archives.nyphil.org/index.php/artifact/17e5b0d2-a12b-4626-9138-25f9cfc1cc16-0.1 }}</ref> which, according to ''[[The New York Times]]'', was eagerly anticipated by the general public.<ref>''The New York Times'', 17 May 1947, p. 8{{title missing}}</ref><ref>''The New York Times'', 4 May 1950, p. 37{{title missing}}</ref> Additional performances in collaboration with Arvizu and the CBS Tipica Orchestra for the ''Inter-America Music Fiesta'' at [[Carnegie Hall]] also attracted widespread acclaim.<ref>''The New York Times'', 27 October 1941, p. 21{{title missing}}</ref><ref>''The New York Times'', 1 February 1942, p. D2{{title missing}}</ref>

In 1946, Antonini recorded several popular Latin American songs on the album ''Latin American Music - Alfredo Antonini and Viva America Orchestra'' for Alpha Records (catalogue #'s 12205A, 12205B, 12206A, 12206B) including: ''Tres Palabras'' ([[Osvaldo Farres]]), ''Caminito de Tu Casa'' ([[Julio Alberto Hernández]]), ''Chapinita'' ([[Miguel Sandoval (composer)|Miguel Sandoval]]) and ''Noche De Ronda'' ([[Augustin Lara]]).<ref name="books.google.com">''Billboard'': "Advanced Record Releases - Alfredo Antonini and Viva America Orchestra", New York, Vol. 58 No. 14, 6 April 1946, pp. 34, 130 [https://books.google.com/books?id=3hkEAAAAMBAJ&dq=Billboard+April+6+1946+Antonini&pg=PT33 ''Latin American Music'' - Alfredo Antonini and Viva America Orchestra in ''Billboard''], books.google.com. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00522350&searchType=1&permalink=y ''Latin American Music''] catalog.loc.gov. Accessed 29 December 2022.</ref> Critical review of the albums in ''The New Records'' praised his conducting talents and hailed the collection as among the best new albums of Latin American music.<ref>The New Records. ''Latin American Music - Alfredo Antonini and Viva America orchestra'' H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, pp. 6-7</ref><ref>[https://archive.org/stream/TNR14/The%20New%20Records%20Vol%2014#page/n77/mode/2up/search/Alfredo+Antonini ''Latin American Music - Alfredo Antonini and Viva America Orchestra'' critical review of the album in ''The New Records'' (pp. 6-7)], archive.org. Accessed 29 December 2022.</ref>

{{external media|width=150px|image1=Photograph of Alfredo Antonini conductor CBS Pan American Orchestra on "[[Viva America]]" for CBS Radio in 1946 [https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995866?adppopup=true '''Here on Getty images''']}}
Later in the 1940s, Antonini collaborated with vocalist Victoria Cordova in a series of recordings for [[Muzak]], featuring compositions familiar to audiences in both North and South America. Included among these were: ''[[What a Difference a Day Made]]'' - [[Maria Grever]], ''[[You Belong to My Heart]]'' - [[Agustin Lara]], ''[[Siboney (song)|Siboney]]'' - [[Ernesto Lecuona]], ''[[Amor (Gabriel Ruiz song)|Amor]]'' - [[Gabriel Ruiz (composer)|Gabriel Ruiz]], ''[[Say It Isn't So (Irving Berlin song)|Say It Isn't So]]'' - [[Irving Berlin]], ''[[How Deep is the Ocean?|How Deep is the Ocean]]'' - [[Irving Berlin]] and ''[[A Perfect Day (song)|A Perfect Day]]'' - [[Carrie Jacobs-Bond]].<ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=10072&recCount=25&recPointer=7&bibId=12506525 "Victoria Cordova" and Alfredo Antonini Orchestra sound recording for Muzak archived in The Library of Congress Online Catalog at catalog.loc.gov]. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=10034&recCount=25&recPointer=3&bibId=13658991 "Victoria Cordova" and Alfredo Antonini Orcehatra sound recording for Muzak archived in the Library of Congress Online Catalog at catalog.loc.gov]. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=10056&recCount=25&recPointer=5&bibId=13447447 Victoria Cordova and Alfredo Antonini Orchestra sound recording for Muzak #1], catalog.loc.gov. Accessed 29 December 2022.</ref><ref>[https://catalog.loc.gov/vwebv/holdingsInfo?searchId=25529&recCount=25&recPointer=1&bibId=13672049 Victoria Cordova and Alfredo Antonini Orchestra sound recording for Muzak #2], catalog.loc.gov. Accessed 29 December 2022.</ref> He also collaborated with the Latin group [[Los Panchos|Los Panchos Trio]] in a recording of the Chilean cueca dance ''La Palma'' for Pilotone records (#P45-5067).<ref>[https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 "La Palma" performed by Los Panchos Trio, Alfredo Antonini and the Viva America Orchestra on archive.org]. Accessed 29 December 2022.</ref> In addition, he recorded several songs for Columbia records with operatic baritone Carlo Morelli which included "[[La spagnola]]" (#17192-D), ''Alma Mia'' (#17192-D) ''Canta Il Mare'' (#17263-D), ''Si Alguna Vez'' (#17263-D).<ref>[https://archive.org/search.php?query=Alfredo%20Antonini Vocalist Baritone Carlo Morelli and Alfredo Antonini in performance on archive.org]</ref> Additional collaborators included: [[Nino Martini]] for a recording of the song ''[[Amapola (song)|Amapola]]'' (Columbia, #17202-D)<ref>[https://archive.org/details/78_amapola-pretty-little-poppy_nino-martini-alfredo-antonini-joseph-lacalle_gbia0021249b ''Amapola'' performed by Nino Martini and Alfredo Antonini on archive.org]. Accessed 29 December 2022.</ref> and Nestor Chayres for a recording of ''[[Granada (song)|Granada]]'' (Decca, #23770 A).<ref>[https://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a ''Granada'' performed by Nestor Chayres and Alfredo Antonini], archive.org. Accessed 29 December 2022.</ref>

At the close of the decade in 1948, Antonini also appeared as the conductor in the premier program of the [[Columbia Symphony Orchestra|CBS Symphony]] Summer Series which was broadcast live over the CBS Radio network.<ref>[https://books.google.com/books?id=ArVNAAAAIBAJ&dq=Alfredo+Antonini&pg=PA8&article_id=2390,2718782 "Distinguished Conductors, Soloists, Premiers of American WorksSlated For Summer Series of CBS Symphony" ''Your Radio Listening Post'' April 23, 1948 p. 14 on Google Books]</ref> During this time he also collaborated with leading orchestral musicians including [[Julius Baker]],<ref>[https://books.google.com/books?id=9qEuAAAAIBAJ&dq=Alfredo+Antonini+Pan+American+Orchestra&pg=PA65&article_id=4339,1244531 "Sunday Selections" ''Toledoo Blade'', June 12, 1948 p. 65 on Google Books]</ref><ref>[https://archives.nypl.org/rha/20484#c1272071 The New York Public Library Archives and manuscripts: "Voice of America Collection of Radio Broadcasts" June 13, 1948 Alfredo Antonini & Julius Baker on archives.nypl.org]</ref> and [[Mitch Miller]].<ref>[https://archives.nypl.org/rha/20484#c1272071 The New York Public Library Archives and manuscripts: "Voice of America Collection of Radio Broadcasts" June 13, 1948 Alfredo Antonini & Mitch Miller on archives.nypl.org]</ref> Several of his performances with the [[CBS Symphony Orchestra]] were also broadcast over the Voice of America network in 1948 and 1949.<ref>[https://archives.nypl.org/search/rha/20484?q=CBS+Symphony+Alfredo+Antonini Alfredo Antonini conducts the CBS Symphony Orchestra on Voice of America archived at the New York Public Library on archives.nypl.org]</ref> In addition, his recordings with the operatic vocalists Juan Arvizu and Nestor Mesta Chayres were transcribed during this time for broadcast by the [[Armed Forces Radio Network]].<ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&q=Alfredo%20Antonini ''The Directory of the Armed Forces Radio Service'' Mackenzie, Harry. Greenwood Press, London, 1999, p. 33 Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres on Google Books]</ref>

===The 1950s: Opera===
[[File:Ccny.JPG|thumb|upright=.85|left|[[City College of New York]] -[[Lewisohn Stadium]], New York City (1973)]]

During the 1950s, Antonini was a professor of music at St. John's University, located in Brooklyn, New York. He taught the Music Appreciation course. As a musical director for [[CBS Television]] during the 1950s, he was instrumental in presenting a program of classical and operatic music to the general public. His collaboration with [[Julie Andrews]], [[Richard Rodgers]], and [[Oscar Hammerstein II]] in a production of ''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'' for CBS television was telecast live in color on 31 March 1957 to an audience of 107 million.<ref>''The New York Times'', 31 March 1957, p. 106{{title missing}}</ref><ref>
Amy Asch.[https://books.google.com/books?id=TQIYt3kBqVAC&dq=Cinderella+Alfredo+Antonini&pg=PA380 ''The Completre Lyrics of Oscar Hammerstein II''], Alfred A. Knopf, New York, 2008, p. 380 https://books.google.com</ref><ref>[https://books.google.com/books?id=9XLEAQAAQBAJ&dq=Cinderella+Alfredo+Antonini&pg=PT108 "Cinderella (Television)" and Alfredo Antonini and Julie Andrews, ''The Rodgers and Hammerstein Collection''], Williamson Music, 2002; {{ISBN|9781458449801}}</ref> During this decade, he also appeared with several noted operatic sopranos including: [[Eileen Farrell]] and [[Beverly Sills]].<ref name="The New York Times 1956, pg. 26">''The New York Times'', 9 July 1956, p. 26.{{title missing}}</ref> Later in 1957, he became the musical director/conductor of the [[Tampa, Florida|Tampa]] Philharmonic Orchestra.<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>

In 1951 he also served as both the orchestra leader and the Choral leader for the CBS Radio program ''Music Land U.S.A'' which featured talented vocalists. Included on the broadcast were [[Lois Hunt]], [[Earl Wrightson]] and [[Thomas Hayward (tenor)|Thomas Hayward]].<ref>[https://www.gettyimages.com/detail/news-photo/music-land-usa-a-cbs-radio-program-featuring-singers-image-news-photo/1167062996?adppopup=true Photograph Music Land U.S.A. Alfredo Antonini, Lois Hunt, Earl Wrightson Thomas Hayward at CBS Radio in 1951 on Getty Images]</ref> These performances by the Alfredo Antonini Orchestra were included among several transcriptions of Antonini's work which were selected for broadcast to America's armed forces throughout the world by the [[Armed Forces Radio Network]] Service during the 1940's and 1950's.<ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&q=Alfredo%20Antonini ''The Directory of the Armed Forces Radio Service'' Mackenzie, Harry. Greenwood Press, London, 1999, p. 33, p.143, p. 151, p. 160, p. 162 on Google Books]</ref>

Antonini served as a conductor of the open-air summer concerts held at the landmark [[Lewisohn Stadium]] in New York City during the 1940s, 1950s and 1960s.<ref>[https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to= ''The New York Philharmonic - Leon Levy Digital Archives''], Programs of Alfredo Antonini conducting the New York Philharmonic. Accessed 29 December 2022.</ref> He appeared at least once during each season while featuring leading talent from the [[Metropolitan Opera]].<ref>[https://academicworks.cuny.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=3282&context=gc_etds ''City University of New York CUNY Academic Works - Music for the (American) People: The Concerts at Lewisohn Stadium 1922-1964'' Johnathan Stern. The City University of New York, New York, 2009, p. 204]</ref><ref>
Seven Frequent Stadium Conductors - Alfredo Antonini and starts from the Met at Lewisohn Stadium, academicworks.cuny.edu. Accessed 29 December 2022.</ref><ref>[https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to= ''The New York Philharmonic - Leon Levy Digital Archives'' - Programs of Alfredo Antonini conducting the New York Philharmonic and operatic soloists], archives.nyphil.org. Accessed 29 December 2022.</ref><ref>{{Cite web|url=https://www.wnyc.org/search/?q=Alfredo+Antonini|title=Search | WNYC | New York Public Radio, Podcasts, Live Streaming Radio, News|website=WNYC}}</ref> His appearances with the [[New York Philharmonic]] Symphony Orchestra and the Lewisohn Stadium Orchestra during the series of ''Italian Night'' concerts frequently attracted audiences which exceeded 13,000 guests. These performances featured arias from the standard Italian operatic repertoire and showcased such operatic luminaries as: [[Jan Peerce]], [[Eileen Farrell]], [[Richard Tucker (tenor)|Richard Tucker]], [[Beverly Sills]], [[Licia Albanese]],<ref>''Stadium Concerts Review'' - Stadium Symphony Orchestra, Herald Square Press, Volume XLII, No. 1, 22 June 1959, p. 17 [https://web.archive.org/web/20190204180000/https://archives.nyphil.org/index.php/artifact/64e03b3b-6294-4ff8-8e54-86245693a4ec-0.1/fullview#page/1/mode/2up ''Stadium Concerts Review'' program listing for Licia Albanese, Alfredo Antonini, Richard Tucker and The New York Philharmonic on 25 June 1959, p. 17 on nyphil.org]</ref> [[Eva Likova]],<ref name="Straus 1948 NYT">{{cite news |id={{ProQuest|108130355}} |last1=Straus |first1=Noel |title=OPERATIC EXCERPTS HEARD AT STADIUM; Alfredo Antonini Offers Italian Music Before 14,000 -- Four Soloists Join in Concert |url=https://www.nytimes.com/1948/07/02/archives/operatic-excerpts-heard-at-stadium-alfredo-antonini-offers-italian.html |work=The New York Times |date=2 July 1948 }}</ref> [[Robert Weede]],<ref name="Straus 1948 NYT"/> [[Cloe Elmo]]<ref name="Straus 1948 NYT"/> and [[Robert Merrill]].<ref name="The New York Times 1956, pg. 26"/><ref>''The New York Times'', 24 July 1950, pg. 26{{missing title}}</ref><ref>''The New York Times'', 11 July 1952, pg. 13{{missing title}}</ref><ref>''The New York Times'', 18 July 1952, pg 10{{missing title}}</ref><ref>''The New York Times'', 20 July 1953, pg. 14{{missing title}}</ref><ref>''The New York Times'', 10 July 1954, pg. 6{{missing title}}</ref><ref>''The New York Times'', 12 June 1955, pg. X7{{missing title}}</ref><ref>''The New York Times'', 14 May 1958, pg. 36{{missing title}}</ref><ref>''The New York Times'', 30 July 1958, pg. 19{{missing title}}</ref><ref>''The New York Times'', 6 May 1959, pg 48{{missing title}}</ref><ref>''The New York Times'', 14 May 1959, pg. 29{{missing title}}</ref>

===1950s-1970s: Television===
{{ external media | width= 150px |audio1 = You may listen to Alfredo Antonini conducting the [[New York Philharmonic]], [[Licia Albanese]], and [[Richard Tucker (tenor)|Richard Tucker]] performing operatic arias by [[Giacomo Puccini]] in 1959 [https://www.wqxr.org/story/licia-albanese-and-richard-tucker-all-puccini-program/ here]}}
Antonini’s work with CBS soon led to television work as that medium came to prominence in the 1950s. He composed half the scores and led the CBS Orchestra in performances for the popular documentary series, ''[[The Twentieth Century]]'' (1957-66).<ref>Richard C. Bartone, “[https://interviews.televisionacademy.com/shows/twentieth-century-the The Twentieth Century],” in The Encyclopedia of Television (1997, Museum of Broadcast Communications). </ref> He conducted the CBS Orchestra on the ''American Musical Theater'' documentary series (1959) which also featured [[Robert Weede]] and [[Laurel Hurley]].<ref>''Hearings- United States Senate'', Volume 8, U. S. Government Printing Office 1962, p. 2006</ref><ref>[https://books.google.com/books?id=1q7dCr0MgvQC&q=Alfredo+Antonini Alfredo Antonini, CBS Orchestra and New York City Board of Education], books.google.com. Accessed 29 December 2022.</ref><ref>[https://www.paleycenter.org/collection/item/?q=meet&p=64&item=T:54153 "American Musical Theater" - education television program featuring Alfredo Antonini on the paleycenter.org]</ref>
Other early network credits included the long-running ecumenical religious program, ''Lamp Unto My Feet'', and specials such as ''Cinderella'' and ''The Fabulous Fifties''.<ref name="Alfredo Antonini, 82 NYT 5Nov1983" />

Antonini continued to collaborate as a guest conductor with instrumental soloists, including [[Benny Goodman]] in 1960 for a performance of [[Mozart's Clarinet Concerto]] at Lewisohn Stadium.<ref>Stern, Jonathan. ''Music of the (American) People: The Concerts at Lewisohn Stadium, 1922-1964''. The City University of New York (CUNY) - Graduate Center, New York, 2009 pp. 204-205 [https://academicworks.cuny.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=3282&context=gc_etds Alfredo Antonini guest conductor on academicworks.cuny.edu]. Accessed 29 December 2022.</ref> In addition, he conducted the [[Symphony of the Air]] in the live prime-time television special ''Spring Festival of Music'' for [[CBS Television]]. This collaboration with the pianist [[John Browning (pianist)|John Browning]] and the producer [[Robert Herridge]] showcased a performance of a movement from Sergie Rachmaninoff's Second Piano Concerto.<ref name="Mi22WDcvoC p. 104">Brian G. Rose. [https://books.google.com/books?id=0bMi22WDcvoC&dq=John+Browning+Spring+Festival+of+Music+Alfredo+Antonini&pg=PA104 ''Television and the Performing Arts'']. Greenwood Press, New York 1986 p. 104; {{ISBN|0-313-24159-7}} Alfredo Antonini, Symphony of the Air, Robert Herridge and John Browning collaborating.</ref> The performance was noted for its musical excellence as well as its dramatic visual presentation on television.<ref name="Mi22WDcvoC p. 104" />

In 1962, Antonini collaborated with [[First Lady of the United States]] [[Jacqueline Kennedy]], director [[Franklin J. Schaffner]], and journalist [[Charles Collingwood (journalist)|Charles Collingwood]] of ''[[CBS News]]'' for the groundbreaking television documentary ''[[A Tour of the White House with Mrs. John F. Kennedy]]''. The documentary television program was watched by more than 80 million viewers throughout the world and received wide critical acclaim.<ref name="paleycenter.org">[https://www.paleycenter.org/collection/item/?q=cbs+television+w..&p=37&item=T76:0067 ''The Paley Center for Media - Tour of the White House with Mrs. John F. Kennedy - Music Director Alfredo Antonini''], paleycenter.org. Accessed 29 December 2022.</ref><ref name="ByzCAAAQBAJ p. 54">[https://books.google.com/books?id=9ByzCAAAQBAJ&dq=A+Tour+of+the+White+House+with+Mrs+Jacqueline+Kennedy+Charles+Collingwood&pg=PA54 ''The Cambridge Companion to John F. Kennedy''] (ed. Andrew Hoberick). Cambridge University Press, New York. 2015, p. 54; {{ISBN|978-1-107-04810-2}}</ref>

In 1964, Antonini appeared as conductor of the CBS Symphony Orchestra in an acclaimed adaptation of [[Hector Berlioz]]'s sacred oratorio ''[[L'enfance du Christ]]'' for CBS Television. His operatic soloists included: [[Sherrill Milnes]], [[Giorgio Tozzi]], [[Ara Berberian]], and [[Charles Anthony (tenor)|Charles Anthony]] as supported by the choral voices of the Camerata Singers.<ref name="nypl.org">{{Cite book|url=https://www.nypl.org/research/research-catalog/bib/b13911987|title=L'enfance du Christ: the childhood of Christ|date=January 1, 1964|publisher=CBS-TV|via=NYPL Research Catalog}}</ref> At this time, he collaborated as conductor for a televised episode of ''[[CBS Workshop|The CBS Repertoire Workshop]]'', "Feliz Borinquen", which showcased the talents of such leading Puerto Rican-American performers as: [[Martina Arroyo]] and [[Raul Davila]].<ref>[https://www.imdb.com/title/tt6249208/fullcredits?ref_=tt_ov_st_sm "Feliz Borinquen" with Alfredo Antonini, Martina Arroyo and Raul Davila on imdb.com]</ref>

[[File:Avery Fisher Hall with Henry Moore scupture.jpg|thumb|upright=.85|left|[[David Geffen Hall|Philharmonic Hall]] - [[Lincoln Center]] Avery Fisher Hall with Henry Moore sculpture]]
In addition to performing as a conductor on [[WOR (AM)|WOR]] radio in [[New York City]] during the 1940s, he appeared as a guest conductor for leading symphonic orchestras in Chicago, Milwaukee, Oslo, Norway and [[Chile]] during the 1950s. During this time he also founded the Tampa Philharmonic Orchestra in Tampa, Florida, which eventually merged into the Florida Gulf Coast Symphony.<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/> In the 1960s, Antonini also appeared as a guest conductor with the New York Philharmonic at [[Avery Fisher Hall|Philharmonic Hall]] during a grand opera benefit concert which featured the artistry of [[Jan Peerce]] and [[Robert Merrill]].<ref name="The New York Times 1964, pg. 114">''The New York Times'', 6 December 1964, p. 114{{title missing}}</ref> Throughout the 1960s he continued to collaborate with such operatic luminaries as Jan Peerce, [[Robert Merrill]],[[Franco Corelli]], [[Nicolai Gedda]], [[Giorgio Tozzi]], [[Gabriella Tucci]], and [[Dorothy Kirsten]] in a variety of gala concerts.<ref name="The New York Times 1964, pg. 114"/><ref>''The New York Times'', 14 November 1965, p. 101{{title missing}}</ref><ref>{{Cite web|url=https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to=|title=New York Philharmonic | Search Results|website=archives.nyphil.org}}</ref> He also performed with [[Roberta Peters]] at the [[Lewisohn Stadium]] at [[City College of New York|City College]].<ref>''The New York Times'', 30 July 1962, p. 14{{title missing}}</ref>

In 1971, Antonini served as musical director on the [[CBS Television]] premier of [[Ezra Laderman]]'s opera ''And David Wept'', earning an [[Emmy Award]] for Outstanding Achievement in Religious Programming (1972). He collaborated in this premier production with such operatic luminaries as [[Sherrill Milnes]], [[Rosalind Elias]], and [[Ara Berberian]].<ref>[https://books.google.com/books?id=Vp8nkGeJKiUC&q=And+David+Wept+&pg=PA242 ''American Aria Encore''] Sherrill Milnes. Amadeus Press, New York 2007 pp. 242-243; {{ISBN|978-157-467160-5}} Sherrill Milnes and Alfredo Antonini collaborating in "And David Wept".</ref><ref>Margaret Ross Griffel.
[https://books.google.com/books?id=Y8bQAwAAQBAJ&dq=And+David+Wept+Ara+Berberian&pg=PA19 ''Operas in English''], Scarecrow Press, UK2013 p. 19; {{ISBN|978-0-8108-8272-0}} "'And David Wept' premiered on CBS Television in 1971 with Sherrill Milnes and Ara Berberian"], books.google.com. Accessed 29 December 2022.</ref> Several years later, in 1975, he joined forces once again with Berberian and mezzo-soprano [[Elaine Bonazzi]] for the CBS television movie, ''A Handful of Souls''.<ref>{{Cite web|url=http://www.milkenarchive.org/artists/view/ezra-laderman/|title = Laderman, Ezra}}</ref><ref>Nina David. [https://books.google.com/books?id=EyFAAQAAIAAJ&q=Ellaine+Bonnazi+A+Handful+of+Souls+Alfredo+Antonini+1975 TV Season 1975-76], Oryx Press 1975 p. 83, ''A Handful of Souls''], books.google.com. Accessed 29 December 2022.</ref>

Antonini's collaborations at CBS Television extended beyond the realm of opera to include prominent figures from several professions including:
* Philanthropy - ([[John D. Rockefeller III]])
* Government - ([[Jacqueline Kennedy Onassis]])<ref name="paleycenter.org"/><ref name="ByzCAAAQBAJ p. 54"/>
* Journalism - ([[Charles Collingwood (journalist)|Charles Collingwood]])<ref name="paleycenter.org"/><ref name="ByzCAAAQBAJ p. 54"/> [[Walter Cronkite]],<ref name="Nehru : man of two worlds">{{cite AV media |title=Nehru : man of two worlds |oclc=8872925 }}</ref><ref name="The Nisei : the pride and the shame">{{cite AV media |title=The Nisei : the pride and the shame |oclc=11308336 }}</ref> [[Daniel Shorr]])
* Art - ([[Henry Moore]], [[Kenneth Clark]])
* Dance - ([[Mary Hinkson]])
* Drama - ([[John Alexander (actor)|John Alexander]], [[Julie Andrews]],<ref>{{cite AV media |title=Cinderella |oclc=422761879 }}</ref> [[Ingrid Bergman]],<ref name="Fe1HuVWVQwC p. 230">[https://books.google.com/books?id=tFe1HuVWVQwC&dq=Ingrid+Bergman+24+hours+in+a+woman%27s+life+Alfredo+Antonini&pg=PA230 ''The Complete Films of Ingrid Bergman'']. Citadel Press Carol Publishing Group, New York 1991 p. 230 "24 Hours in a Woman's Life" Credits: Ingrid Bergman and Alfredo Antonini on https://books.google.com</ref> [[Betty Comden]],<ref>[https://books.google.com/books?id=Of0QAAAAQBAJ&dq=The+Fabulous+Fifties+Alfredo+Antonini&pg=PA148 ''Television Specials''] Vincent Terrace. McFarland and Co, North Carolina 2013, p. 148; {{ISBN|978-0-7864-7444-8}} "The Fabulous Fifties" Credits: Alfredo Antonini and Betty Comden.</ref> [[Henry Fonda]],<ref>[https://books.google.com/books?id=Of0QAAAAQBAJ&dq=The+Fabulous+Fifties+Alfredo+Antonini&pg=PA148 ''Television Specials''] Vincent Terrace. McFarland and Co, North Carolina 2013, p. 148; {{ISBN|978-0-7864-7444-8}} "The Fabulous Fifties" Credits: Alfredo Antonini and Henry Fonda on https://books.google.com</ref> [[Jackie Gleason]],<ref>[https://books.google.com/books?id=Of0QAAAAQBAJ&dq=The+Fabulous+Fifties+Alfredo+Antonini&pg=PA148 ''Television Specials''] Vincent Terrace. McFarland and Co, North Carolina 2013, p. 148; {{ISBN|978-0-7864-7444-8}} "The Fabulous Fifties" Credits: Alfredo Antonini and Jackie Gleason .</ref> [[Steven Hill]], [[Ron Holgate]],<ref>G.K. Hall.
[https://books.google.com/books?id=uottAAAAMAAJ&q=Alfredo+Antonini+Ronald+Holgate ''Jewish Films in the United States''], University of Southern California, 1976, p. 266 "Alfredo Antonini conductor CBS Orchestra and Ronald Holgate" on https://books.google.com</ref> [[Celeste Holm]], [[Richard Kiley]],<ref>{{cite book |title=Studio one-- 'The landlady's daughter' |oclc=23903981 }}</ref> [[Howard Lindsay]],<ref>Jack Raymond. [https://books.google.com/books?id=6vr0AAAAMAAJ&q=Alfredo+Antonini+Julie+Andrews++Howard+Lindsay+ ''Show Music on Record''] ''Smithsonian Washington'' 1992, p. 226 Cinderella Credits: Julie Andrews, Howard Lindsay, and Alfredo Antonini on https://books.google.com</ref> [[Michael Redgrave]])
* Concert Stage - ([[Charles Anthony (tenor)|Charles Anthony]]<ref>Jerry L. McBride. [https://books.google.com/books?id=soYHkRcq0r4C&dq=Charles+Anthony+Alfredo+Antonini&pg=PA219 ''Douglas Moore: A Bibliography''] Music Library Association & A. R. Editions, Wisconsin. p. 219; {{ISBN|978-0-89579-666-0}} Charles Anthony and Alfredo Antonini on https://books.google.com</ref> [[John Browning (pianist)|John Browning]])<ref>Brian G. Rose. [https://books.google.com/books?id=0bMi22WDcvoC&dq=John+Browning+Spring+Festival+of+Music+Alfredo+Antonini&pg=PA104 ''Television and the Performing Arts'']. Greenwood Press, New York 1986 p. 104; {{ISBN|0-313-24159-7}}</ref>

==Death==
Alfredo Antonini died at the age of 82 during heart surgery in Clearwater, Florida, in 1983. He was buried in Sylvan Abbey Memorial Park cemetery in Clearwater and was survived by his wife Sandra and a son.<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/><ref name="Italian maestro dies during surgery"/>

==Compositions==
{{ external media |width=220px|audio1 = You may listen to Alfredo Antonini with lyric tenor [[Nino Martini]] in the song''[[Torna a Surriento]]'' by [[Ernesto De Curtis]] in 1941 [https://archive.org/details/78_torna-a-sorriento-come-back-to-sorrento_nino-martini-de-curtis-alfredo-antonini_gbia0044988b/Torna+a+Sorriento+(Come+Back+to+Sorrento)+-+Nino+Martini.flac '''here''']}}
* ''The Great City''
* ''[[Sarabande]]''
* ''Sicilian Rhapsody''
* ''Suite for Cello and Orchestra''
* ''Preludes for Organ''
* ''Suite for Strings''
* ''The United States of America, Circa 1790''
* ''Mambo Tropical''

==Discography==
{{ external media |width=220px|audio1 = You may listen to Alfredo Antonini with lyric tenor [[Nino Martini]] in [[Joseph Lacalle]]'s song ''[[Amapola (song)|Amapola]]'' in 1940 [https://archive.org/details/78_amapola-pretty-little-poppy_nino-martini-alfredo-antonini-joseph-lacalle_gbia0021249b/Amapola+(Pretty+Little+Poppy)+-+Nino+Martini.flac '''here''']}}

* ''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'', vocalist [[Julie Andrews]], Columbia Masterworks (OL5190), 12 Inch LP, 1957?
* ''American Fantasy'', SESAC Records, 33 RPM LP, 195?
* ''Atmosphere By Antonini - Alfredo Antonini and His Orchestra'', Coral Records (LVA 9031), 33PRM LP, 1956<ref name="discogs.com">{{cite web| url = https://www.discogs.com/artist/531459-Alfredo-Antonini| title = Alfredo Antonini {{!}} Discography {{!}} Discogs| website = [[Discogs]]}}</ref>
* ''Romantic Classics'', SESAC Records, 33 RPM LP, 195?
* ''Aaron Copland/Hugo Weisgall/Alfredo Antonini - Twelve Poems of Emily Dickenson'', Columbia Masterworks (ML 5106), 33 RPM LP, 1956<ref name="discogs.com"/>
* ''Songs from Sunny Italy - Richard Tucker with Alfredo Antonini Conducting the Columbia Concert Orchestra'', Columbia Masterworks (ML 2155), 33 RPM LP, 1950<ref name="discogs.com"/>
* ''Alfredo Antonini and His Orchestra - Dances of Latin America'', London Records (LPB.294), 33 RPM LP, 1950<ref name="discogs.com"/>
* ''Alfredo Antonini & The Columbia Concert Orchestra'', soloist Richard Tucker, Columbia Masterworks (A-1540), 45 RPM, 195?
* ''Nestor Chayres Singing Romantic Songs of Latin America'', Alfredo Antonini conductor, Decca, 78 RPM, 1947<ref>{{Cite web|url=https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00726807&searchType=1&permalink=y|title=LC Catalog - No Connections Available|website=catalog.loc.gov|date=1947 }}</ref>
* ''Juan Arvizu, Troubador of the Americas'', Alfredo Antonini conductor, Columbia Records (#36663), 1941 78 RPM, 1941<ref>{{Cite web|url=https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00728857&searchType=1&permalink=y|title=LC Catalog - No Connections Available|website=catalog.loc.gov|date=1941 }}</ref><ref>{{Cite web|url=http://archive.org/details/78_duerme-time-was_juan-arvizu-and-the-c-b-s-tipica-orchestra-bermejo-alfredo-ant_gbia0021701|title=Juan Arvizu|date=December 1, 1941|via=Internet Archive}}</ref>
* ''Latin American Music - Alfredo Antonini and Viva America Orchestra'', Alfredo Antonini conductor of the Viva America Orchestra, Elsa Miranda vocalist, Alpha Records (#12205) 78 RPM, 1946<ref>{{Cite web|url=https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00522350&searchType=1&permalink=y|title=LC Catalog - No Connections Available|website=catalog.loc.gov}}</ref><ref name="books.google.com"/>
* ''Richard Tucker: Just For You with Alfredo Antonini and the Columbia Symphony Orchestra'', Columbia Masterworks (A-1619-1), 45 RPM,195?<ref name="discogs.com"/>
* ''Amapola'' (Joseph Lacalle), vocalist [[Nino Martini]], Columbia (#17202-D) 78 RPM, 194?<ref>{{Cite web|url=http://archive.org/details/78_amapola-pretty-little-poppy_nino-martini-alfredo-antonini-joseph-lacalle_gbia0021249b|title=Amapola (Pretty Little Poppy)|date=January 1, 1940|via=Internet Archive}}</ref>
* ''Bolero - No Me Lo Digas'' (Maria Grever), vocalist Nino Martini, Columbia (#17202-D), 194?<ref>{{Cite web|url=http://archive.org/details/78_bolero-no-me-lo-digas-dont-ever-tell-me_nino-martini-alfredo-antonini-maria-gr_gbia0021249a|title=Bolero (No Me Lo Digas) (Don't Ever Tell Me)|date=January 1, 1940|via=Internet Archive}}</ref>
{{ external media |width=220px|audio1 = You may listen to Alfredo Antonini with [[Juan Arvizu]] and [[John Serry Sr.]] performing ''Vival Sevilla'', ''Mi Sarape'', ''Que Paso?'', ''El Bigote de Tomas'', ''De Donde?'' in 1942 [https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/05+-+Mi+Sarape+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac '''here''']}}
* ''Nestor Chayres & Alfredo Antonini'', Decca (#23770), 78 RPM<ref name="discogs.com"/>
* ''Granada'' (Agustin Lara), vocalist Nestor Chayres, Decca (#23770), 78 RPM (1946)<ref>{{Cite web|url=http://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a|title=Granada|date=April 30, 1946|via=Internet Archive}}</ref>
* ''Noche de Ronda'' (Maria Teressa Lara), vocalist Nestor Chayres, Decca (#23770), 78 RPM (1946)<ref>{{Cite web|url=http://archive.org/details/78_noche-de-ronda_nestor-chayres-maria-teresa-lara-alfredo-antonini_gbia0021459b|title=Noche de Ronda|date=April 30, 1946|via=Internet Archive}}</ref>
* ''La Palma'', Los Panchos Trio, Pilotone (#P45 5067), 78 RPM (194?)<ref name="auto">{{Cite web|url=http://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808|title=La Palma; Rosa Negra|via=Internet Archive}}</ref>
* ''Rosa Negra'', Alfredo Antonini Viva America Orchestra, Pilotone (#P45 5069), 78 RPM (194?)<ref name="auto"/>
* ''Alfredo Antonini and The [[Viva America]] Orchestra - Chiqui, Chiqui, Cha/Caminito De Tu Casa'', Bosworth Music (BA.251), 78 RPM, (194?)<ref name="discogs.com"/>
* ''Music of the Americas'', Pilotone Album, 78 RPM LP, 194?
* ''[[La spagnola]]'' (V. Di Chiara), vocalist Carlo Morelli, Columbia (#17192D) 78 RPM (194?)<ref>{{Cite web|url=http://archive.org/details/78_la-spagnola-the-spanish-one_carlo-morelli-alfredo-antonini-v-di-chiara_gbia0034816b|title=La Spagnola (The Spanish One)|date=January 1, 1940|via=Internet Archive}}</ref>
* ''Alma Mia'' (Maria Grever), vocalist Carlo Morelli, Columbia (#17192D) 78 RPM (194?)<ref>{{Cite web|url=https://archive.org/details/78_alma-mia-my-soul_carlo-morelli-alfredo-antonini-maria-grever_gbia0034816a|title=Alma Mia (My Soul) : Carlo Morelli : Free Download, Borrow, and Streaming : Internet Archive|date=1940 }}</ref>
* ''Viva Sevilla!'' and ''Noche de Amor'' vocalist Juan Arvizu, Columbia (#36664) 78 RPM (194?)<ref name="auto2">{{Cite web|url=http://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640|title=Viva Sevilla!; Noche de Amor; Mi Sarape; Que Paso?; El Bigote de Tomas; De Donde?|date=January 28, 1942|via=Internet Archive}}</ref>
* ''Mi Sarape'' and ''Que Paso?'' vocalist Juan Arvizu, Columbia (#36665) 78 RPM (194?)<ref name="auto2"/>
* ''El Bigot de Tomas'' and ''De Donde?'' vocalist Juan Arvizu, Columbia (#36666) 78 RPM (194?)<ref name="auto2"/>
* ''Canta Il Marie'' (Mazzola) and ''Si Alguna Vez'' (Ponce) vocalist Carlo Morelli Columbia (#17263-D) 78 RPM<ref>{{Cite web|url=http://archive.org/details/78_canta-il-mare-song-of-the-sea_carlo-morelli-alfredo-antonini-mazzola-de-leva_gbia0034815a|title=Canta Il Mare (Song of the Sea)|date=January 1, 1940|via=Internet Archive}}</ref>
* ''Esta Noche Ha Pasado'' (Sabre Marrequin) vocalist Luis G. Roldan, Columbia (#6201-x) 78 RPM (194?)<ref>{{Cite web|url=http://archive.org/details/78_esta-noche-ha-pasado_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-c_gbia0033510b|title=Esta Noche Ha Pasado|via=Internet Archive}}</ref>
* ''Tres Palabras'' (Osvaldo Farres) vocalist Luis G. Roldan, Columbia (#6201-x) 78 RPM (194?)<ref>{{Cite web|url=http://archive.org/details/78_tres-palabras_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-cbs-os_gbia0033510a|title=Tres Palabras|via=Internet Archive}}</ref>

==Filmography==
[[File:Charles Collingwood murrow27s boys.jpg|thumb|upright=.85|right|''[[A Tour of the White House with Mrs. John F. Kennedy]]'' (1962) [[Jacqueline Kennedy]] and [[Charles Collingwood (journalist)|Charles Collingwood]] Charles Collingwood murrow27s boys]]
*''A Handful of Souls'' - (TV Movie, Conductor, 1975)<ref>[https://books.google.com/books?id=BqIRQ2iTk6sC&q=A+Handful+of+Souls+and++Alfredo+Antonini ''TV Season 76-77''] Nina David. Greenwood Pub Group, 1978 p. 108 Alfredo Antonini and A Handful of Souls in https://books.google.com</ref>
*''And David Wept'' - (TV Movie, music director, 1971)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
*''Gauguin in Tahiti: The Search for Paradise'' - (TV Documentary, Conductor, 1967)
*''The Emperor's New Clothes'' - (TV Movie, Conductor, 1967)
*''The Twentieth Century'' - ''Nehru: Man of Two Worlds'' - (CBS-TV, Conductor, 1966)<ref name="Nehru : man of two worlds"/>
*''[[Where the Spies Are]]'' - (Film, Conductor, 1966)
*''[[CBS Reports]]'' - (TV Documentary series, Conductor, 1965)
*''The Twentieth Century'' - ''The Nisei: The Pride and the Shame'' (CBS Documentary, Conductor, 1965)<ref name="The Nisei : the pride and the shame"/>
*''Jack and the Beanstalk'' - (TV Movie, Conductor, 1965)
*''Pinocchio'' (TV Movie, Conductor, 1965)
*''L'Enfance du Christ'' - (TV Movie, Conductor, 1964) <ref name="nypl.org"/>
*''CBS Repertoire Workshop'' - (TV Series, Conductor, 1964)
*''The Twentieth Century'' - (CBS-TV Documentary Series, musical director, conductor, 1957-66)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/><ref>[https://books.google.com/books?id=IMVADwAAQBAJ&dq=The+Incredible+Turk+CBS+Alfredo+Antonini&pg=PA137 ''TV in the USA: A History of Icons Idols and Ideas - Volume I 1950s–1960s''] Vincent Lobrutto. Greenwood, Santa Barbara. 2018 p. 137–138 {{ISBN|978-1-4408-2972-7}} The Twentieith Century (1957-1970) Alfredo Antonini composer and the CBS Orchestra on https://books.google.com</ref>
*''Arias and Arabesques'' - (TV Movie, Conductor, 1962)<ref>[https://books.google.com/books?id=soYHkRcq0r4C&dq=Airias+and+Arabesques+Alfredo+Antonini&pg=PA219 ''Douglas Moore - A Bio-Bibliography''] Jerry L. McBride. Music Library Association & A. R. Edwards, Wisconsin. 2011 p. 219 {{ISBN|978-0-89579-666-0}} Arias and Arabesques CBS telecast and Alfredo Antonini 1962 on https://books.google.com</ref>
*''Cabeza de Vaca'' - (TV Movie, Conductor, 1962)<ref>[https://books.google.com/books?id=KzA9AAAAMAAJ&q=Cabeza+de+Vaca+Alfredo+Antonini ''Music Courier Volume 164''] 1962 p. 51 Cabeza de Vaca and Alfredo Antonini and the CBS Symphony on https://books.google.com</ref><ref>[https://books.google.com/books?id=0ecaAQAAMAAJ&q=Alfredo+Antonini ''Biblion: the Bulletin of the New York Public Library''] The New York Public Library, New York 1992 p. 129 Cabeza de Vaca premiered by Alfredo Antonini on the CBS network in 1962 on https://books.google.com</ref>
*''[[A Tour of the White House with Mrs. John F. Kennedy|A Tour of the White House]]'' - (TV Documentary, musical director, 1962)<ref name="paleycenter.org"/>
*''An Act of Faith'' - (TV Movie, musical director, 1961)<ref>{{cite AV media |title=An act of faith |oclc=4013150 }}</ref>
*''Twenty-Four Hours in a Woman's Life'' - (TV Movie, Conductor, 1961)<ref name="Fe1HuVWVQwC p. 230"/>
*''And On Earth, Peace'' - (TV Movie, Composer, 1961)
*''Spring Festival of Music: American Soloists'' - (TV Movie, Self, 1960)<ref>[https://books.google.com/books?id=0bMi22WDcvoC&dq=Spring+Festival+of+Music%3A+American+Soloists+CBS&pg=PA104 ''Television and the Performing Arts - A Handbook and Reference Guide to American Cultural Programing''] Brian G. Rose. Greenwood Press, New York. 1986 p. 104 {{ISBN|0-313-24159-7}} Spring Festival of Music on CBS conducted by Alfredo Antonini on https://books.google.com</ref>
*''The Right Man'' - (TV Movie, Conductor, 1960)
*''The Fabulous Fifties'' - (TV Documentary, musical director, 1960)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
*''The Twentieth Century'' - ''The Movies Learn to Talk'' - (CBS documentary, Conductor, 1959) <ref>{{cite AV media |title=The movies learn to talk |oclc=78115285 }}</ref>
*''The American Musical Theater'' (CBS-TV documentary series, Conductor,1959)<ref>{{cite AV media |title=The American musical theater |oclc=422883733 }}</ref>
*''The Twentieth Century'' - ''The Incredible Turk'' (TV Documentary, Conductor, 1958)<ref>[https://books.google.com/books?id=IMVADwAAQBAJ&dq=The+Incredible+Turk+CBS+Alfredo+Antonini&pg=PA137 ''TV in the USA: A History of Icons Idols and Ideas - Volume I 1950s–1960s''] Vincent Lobrutto. Greenwood, Santa Barbara. 2018 p. 137–138 {{ISBN|978-1-4408-2972-7}} The Twentieith Century (1957–1970)-The Incredibile Turk Alfredo Antonini composer and the CBS Orchestra on https://books.google.com</ref>
*''[[The Seven Lively Arts]]'' - (TV Series, musical director, 1957)
*''[[Air Power (TV series)|Air Power]]'' - (TV Documentary, musical director, 1956–1957)<ref>[https://books.google.com/books?id=sqhkAAAAMAAJ&q=Airpower+Walter+Cronkite+Alfredo+Antonini ''Special Edition - A Guide to Network Television Documentary Series and Special News 1955-1979''] Daniel Einstein. Scarecrow Press 1987 p. 68 Airpower, Walter Cronkite and Alfredo Antonini conducting the CBS Symphony on https://books.google.com</ref><ref>[https://books.google.com/books?id=8rLVvClhs04C&dq=Airpower+Walter+Cronkite+Alfredo+Antonini&pg=PA138 ''The Decade that Shaped Television News - CBS in the 1950s''] Sig Mickelson. Praeger, Conn., 1998 p. 138-139 {{ISBN|0-275-95567-2}} Walter Cronkite, Airpower and Alfredo Antonini conductor of the CBS Orchestra on https://books.google.com</ref>
*''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'' - (TV Special, music director, 1957)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
*''Studio One: Circle of Guilt'' - (CBS-TV, Conductor, 1956)<ref>{{cite AV media |title=Studio one. Circle of guilt |oclc=423379465 }}</ref>
{{external media|width=200px|image1=Photograph of Alfredo Antonini: conductor circa 1930 [https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&doctype=visual '''Here on Archives.nyphil''']}}
*''Studio One: Dino'' - (CBS-TV, music director, 1956) <ref>{{cite AV media |title=Studio one. Dino |oclc=423379532 }}</ref>
*''Studio One: Star-Spangled Soldier'' - (CBS-TV, Music, 1956) <ref>{{cite AV media |title=Studio one. Star-spangled soldier |oclc=423379723 }}</ref>
*''[[Studio One in Hollywood]]'' - (TV Series, music director, 1954)<ref>{{cite AV media |title=Studio one: The remarkable incident at Carson Corners |oclc=34607051 }}</ref>
*''Studio One: Dark Possession'' - (CBS-TV, Musical consultant, 1954)<ref>{{cite AV media |title=Studio one. Dark possession |oclc=423379475 }}</ref>
*''Studio One: Let me Go, Lover'' - (CBS-TV, music director, 1954)<ref>{{cite AV media |title=Studio one. Let me go, lover |oclc=423379622 }}</ref>
*''Studio One: Dry Run'' - (CBS-TV, Music, 1953) <ref>{{cite AV media |title=Studio one. Dry run |oclc=423379541 }}</ref>
*''[[The Jane Froman Show]]'' - (TV Series, Conductor, 1952)<ref>[https://books.google.com/books?id=w8KztFy6QYwC&dq=The+Jane+Frowman+Show+Alfredo+Antonini&pg=PA693 ''The Complete Directory to Prime Time Network and Cable TV Shows 1946 - Present''] Tim Brooks and Earl Marsh. Ballantine Books, New York. 2007 p. 693 {{ISBN|978-0-345-49773-4}} Jane Froman's USA Canteen (aka Jane Froman Show) CBS Alfredo Antonini Orchestra on https://books.google.com</ref>
*''The Cabinet of Dr. Caligari'' - (TV Movie, Composer, 1920)<ref>{{cite AV media |title=Das Cabinet des Dr Caligari |oclc=1041369189 }}</ref>

==Awards==
* Primetime [[Emmy]] Award for Outstanding Achievement in Religious Programming (1972)<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/><ref name="TCUTBQAAQBAJ p. 394"/>
* Award for Distinguished Service to Music from the National Association for American Composers and Conductors<ref name="Alfredo Antonini, 82 NYT 5Nov1983"/>
* Title of [[Commander (order)|Commendatore]] awarded by the President of Italy (1977)<ref name="Italian maestro dies during surgery"/><ref name="quirinale.it">{{Cite web|url=http://www.quirinale.it/elementi/Onorificenze.aspx?pag=0&qIdOnorificenza=&cognome=Antonini&nome=Alfredo&daAnno=1800&aAnno=2017&luogoNascita=&testo=&ordinamento=2|title=Alfredo Antonini on Presidenza della Repubblica}}</ref>
* [[Order of Merit of the Italian Republic]] (1980)<ref name="Italian maestro dies during surgery"/><ref name="quirinale.it"/>

==Archived works==
* Selected scores of compositions by Alfredo Antonini broadcast on the CBS television network are archived within the CBS Collection of Manuscript Scores 1890–1972 at the [[New York Public Library for the Performing Arts]] at Lincoln Center in New York City, New York.<ref>{{Cite web|url=https://archives.nypl.org/mus/25793|title=archives.nypl.org -- CBS collection of manuscript scores|website=archives.nypl.org}}</ref><ref>{{Cite web|url=https://archives.nypl.org/controlaccess/106237?term=Antonini,+Alfredo|title=archives.nypl.org -- Search results|website=archives.nypl.org}}</ref>
* Selected sound recordings featuring Alfredo Antonini conducting the [[CBS Symphony Orchestra]] for [[Voice of America]] are archived at the New York Public Library for the Performing Arts at Lincoln Center in New York City, New York.<ref name="auto1"/>
* Selected concert programs, musical scores, scrape books and business documents by Alfredo Antonini are archived online at the [[New York Philharmonic]] - Shelby White and Leon Levy Digital Archives.<ref>[https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to= The New York Philharmonic Archive. Alfredo Antonini on archives.nyphil.org]</ref>

==Professional affiliations==

* American Society of Composers, Authors and Publishers [[ASCAP]] (1948)<ref name="ReferenceA">{{Cite web|url=https://www.imdb.com/name/nm0031350/|title=Alfredo Antonini|website=[[IMDb]]}}</ref>

==References==
<references/>

==External links==
*[https://archive.org/search.php?query=Alfredo%20Antonini Alfredo Antonini on archive.org]
*[http://frontera.library.ucla.edu/frontera-search?keywords=Alfredo+Antonini Alfredo Antonini recordings archived in The Strachwitz Frontera Collection of Mexican and Mexican American Recordings at the University of California Los Angeles on frontera.library.ucla.edu]
*[https://archives.nypl.org/search/rha/20484?q=CBS+Symphony+Alfredo+Antonini Alfredo Antonini audio recordings with the CBS Symphony Orchestra archived at the New York Public Library at archives.nypl.org]
*[http://library.juilliard.edu/search/?searchtype=a&SORT=D&searcharg=Antonini%2C+Alfredo Alfredo Antonini at The Juilliard School of Music Libraries]
* {{IMDb name|0031350}}
*[https://www.worldcat.org/search?q=Alfredo+Antonini Alfredo Antonini on Worldcat.org]
*[https://www.gettyimages.co.nz/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995866?adppopup=true Photograph of Alfredo Antonini on the" Viva America" radio program at CBS (March 8, 1946) on Getty Images]
*{{Find a Grave|45078083}}

{{Authority control}}

{{DEFAULTSORT:Antonini, Alfredo}}
[[Category:1901 births]]
[[Category:1983 deaths]]
[[Category:American male composers]]
[[Category:American male conductors (music)]]
[[Category:Primetime Emmy Award winners]]
[[Category:Italian composers]]
[[Category:Italian male composers]]
[[Category:Italian conductors (music)]]
[[Category:Italian male conductors (music)]]
[[Category:20th-century American conductors (music)]]
[[Category:20th-century American composers]]
[[Category:20th-century Italian musicians]]
[[Category:20th-century American male musicians]]
[[Category:Italian emigrants to the United States]]

Juan Arvizu

2024-10-03T23:24:39Z

160.72.80.178: /* Discography */''Removed Dead External Media link''~~~~NHPL

{{Short description|Mexican singer (1900–1985)}}
{{Infobox musical artist
| name = Juan Arvizu
| image = Juan Arvizu.jpg
| image size =
| alt =
| caption = Arvizu in 1944
| birth_name = Juan Nepomuceno Arvizu Santelices
| alias = Juan Arvizu
| birth_date = {{birth_date|1900|5|22}}
| birth_place = [[Santiago de Querétaro]], Mexico
| origin =
| death_date = {{death date and age|1985|11|19|1900|5|22}}
| death_place = [[Mexico City]], Mexico
| genre = [[Opera]], [[Bolero]], [[Vocalist]]
| occupation = [[Lyric tenor]]
| instrument =
| years_active = 1924–1967
| associated_acts = [[New York Philharmonic]], [[CBS]] Pan American Orchestra, Consuelo Escobar de Castro Opera, Orquesta de la Radio Caracas, [[Agustín Lara]], [[Nestor Mesta Chayres]], [[John Serry Sr.]], [[Voice of America]], [[Viva América]]
}}
'''Juan Nepomuceno Arvizu Santelices''' (known as '''Juan Arvizu'''; May 22, 1900 – November 19, 1985), was an acclaimed lyric [[tenor]] in [[Mexico]] and a noted interpreter of the Latin American [[bolero]] and [[tango]] on the international concert stage, on the radio and in film. He was widely noted for his interpretations of the works of [[Agustin Lara]] and [[María Grever]] and was nicknamed "The Tenor With the Silken Voice".

==Biography==
===Early years===
Juan Nepomuceno Arvizu Santelices was born in [[Querétaro]], Mexico, to Pedro Arvizu and Trinidad Santelices. As a child, he assisted his father as a radio-telegraph operator. His mother encouraged him to study vocalization, [[solfège]] and harmony while he sang in a children's choir. By the age of 22 he was accepted into the [[Conservatorio Nacional de Música (Mexico)]] in [[Mexico City]], where he continued his studies.<ref>[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu - Biography on books.google.com</ref> His artistic abilities attracted the attention of several music teachers including José Pierson, who had instructed such noted vocalists as [[Jorge Negrete]], [[José Mojica]], [[Alfonso Ortiz Tirado]], [[Pedro Vargas]] and Juan Pulido. Arvizu first appeared with Pierson's opera company while performing on stage with the noted soprano [[Ángeles Ottein]] and [[Consuelo Escobar de Castro|Consuelo Escobar]].<ref>Hernán Restrepo-Duque: «Notas. Prohibited in the Voice of Juan Arvizu. RCA Victor. Medellín: Sonolux.</ref>

At the age of 24, Arvizu made his debut at the Teatro Esperanza Iris with a role in ''La sonámbula'' by [[Vincenzo Bellini]].<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu Biography'' - Juan Arvizu debut at Teatro Esperanza Iris on todotango.com]</ref> As a member of the Consuelo Escobar de Castor Opera Company he continued in this role and traveled abroad. He visited New York City during this time and continued to augment his operatic repertoire to include the [[Argentine tango]] and the works of [[María Grever]] and Alfonso Esparza Oteo. By 1927, Arvizu returned to Mexico and appeared in another operatic production at the Teatro Esperanza Iris of [[Giacomo Meyerbeer]]'s work ''[[Dinorah]]''.<ref name="books.google.com">[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu on books.google.com</ref>

While Arvizu's natural vocal qualities and the power of his operatic voice attracted the attention of the public, he faced financial obstacles in his professional endeavors at this time. With this in mind he increased his repertoire to include the popular tango and initiated appearances in cafes and cinemas.<ref name="books.google.com"/> Pepe Cantillo, who directed one of the most famous music revues in Mexico soon engaged Arvizu.<ref>Hernán Restrepo-Duque: Notas. The songs of “Ahora seremos felices” and other hits of those days. RCA Victor. Medellín: Sonolux.</ref><ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - Vintagemusic.fm'' Juan Arvizu performs in music revue of Pepe Cantillo on vintagemusic.fm]</ref> His performances in the opera house also attracted the attention of leading figures in the phonographic industry. At this time the popular music field welcomed such noted operatic artists as Margarita Cueto, [[Pedro Vargas]], Juan Pulido, Carlos Mejía, [[Carlos Almenar Otero]], [[Alfredo Sadel]] and [[Tito Schipa]] among others. Juan Arvizu was no exception, entrusting his voice to the Brunswick record label in 1928. His first recording of the song ''Varita de nardo'' by Joaquin Pardavé was well received among audiences. The [[RCA Victor]] record label soon included him on their staff, thereby beginning one of the most prolific careers in popular music. The composer [[Jorge del Moral]] entrusted his composition ''Por Unos Ojos'' to Arvizu, whose vocal versatility and musical qualities earned him the nickname "The Tenor With the Silken Voice".<ref>[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu- "The Tenor With The Silken Voice" on books.google.com</ref><ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Todo Tango - Juan Arvizu - nicknames El Tenor de la Voice de Seda --The Tenor with the Silken Voice'' on todotango.com]</ref><ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - "The Tenor With The Silken Voice'' on www.vintagemusic.fm]</ref>

===International recognition===
Based upon these achievements, Radio [[XEW-AM|XEW]] in Mexico invited Arvizu in 1930 to inaugurate its first broadcast in 1930.<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu - Biography in Todo Tango'' - Juan Arvizu inaugurates Radio XEW on tototango.com]</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Biography&pg=PT73 ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 56-57 {{ISBN|978-0-19-989245-7}} Juan Arvizu and Agustin Lara collaborate on the launch of radio XEW on books.google.com</ref> This would not be the only time that the "Tenor With the Silken Voice" would receive such recognition. In fact, Arvizu had the honor of initiating broadcasts on several other international radio stations. For example, in 1935, he inaugurated a show on LR1 - Radio El Mundo in Buenos Aires, Argentina.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biography - Vintagemusic.fm'' Juan Arvizu inaugurates Radio LR1 in vintagemusic.fm]</ref> Years later in 1942 he premiered with the Cadena de Las Amėricas of the [[Columbia Broadcasting System]] (CBS) and [[Voice of America]] on the ''[[Viva América]]'' show in New York, in collaboration with the orchestra conductor [[Alfredo Antonini]], the Puerto Rican vocalist [[Elsa Miranda]], the Argentine composer [[Terig Tucci]], the Mexican American vocalist [[Eva Garza]] and the concert accordionist [[John Serry Sr.]]<ref>'The New York Times", May 5, 1941, Pg. 32</ref><ref name="PictoralHistory">{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (Juan Arvizu photographed with the CBS Pan American Orchestra in New York)</ref><ref>Media Sound & Culture in Latin America & The Caribbean. Editores: Bronfman, Alejandra & Wood, Andrew Grant.University of Pittsburgh Press, Pittsburgh, PA, USA, 2012 Pg. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Books.google.com Vea la pág. 49]</ref><ref>[https://books.google.com/books?id=aPAvAAAAYAAJ&q=Juan+Arvizu ''The Pan American'' - Volume 2 1941, p. 46, p. 55- "Latin American Ballad Singer Comes For Radio" Juan Arvizu on books.google.com]</ref><ref>[https://books.google.com/books?id=2E4QAAAAIAAJ&q=Juan+Arvizu ''Newsweek'' Volume 17 1941 p. 68 Juan Arvizu recruited by Edmund Chester for CBS radio on google.books.com]</ref><ref>[https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''] Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 155-157 {{ISBN|978-0-8166-7316-2}} Eva Garza and Viva America on google.books.com</ref> In 1941 he also collaborated with the [[Andre Kostelanetz]] Orchestra in live performance on the radio for WABC in New York City.<ref>[https://books.google.com/books?id=QXMrk00pi-sC&dq=Juan+Arvizu&pg=PA317 ''Andre Kostelanetz on Records and On The Air - A Discography and Radio Log''] North, James A. The Scarecrow Press Inc., Plymouth UK 2011 p. 317 {{ISBN|978-0-8108-7732-0}} on books.google.com</ref> By 1945 his performances on the CBS network were heard by audiences in twenty Latin American nations and were rebroadcast for members of America's Armed forces on the Armed Forces Radio Service.<ref>[https://books.google.com/books?id=Qx00pQIkclMC&q=ociaa&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''] Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 152-155 {{ISBN|978-0-8166-7316-2}} OCIAA (Office of the Coordinator of Inter-American Affairs), FDR's Good Neighbor Policy, CBS, Viva America, La Cadena de las Americas on google.books.com</ref><ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&dq=Nestor+Mesta+Chayres&pg=PA33 ''The Directory of the Armed Forces Radio Service'' Mackenzie, Harry. Greenwood Press, London, 1999, p. 33 Recordings by Alfredo Antonini with Juan Arvizu and Nestor Mesta Chayres on the Directory of the Armed Forces Radio Service during 1945-1949 on Google Books]</ref>
His performances with the CBS Pan American Orchestra were also noteworthy for helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States during the 1940s.<ref>Media Sound & Culture in Latin America & The Caribbean. Editores: Bronfman, Alejandra & Wood, Andrew Grant.University of Pittsburgh Press, Pittsburgh, PA, USA, 2012 Pg. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Juan Arvizu, CBS Pan American Orchestra & Latin American music Books.google.com]</ref> But one of his greatest achievements was to "discover" one of Mexico's leading composers, [[Agustín Lara]] in 1929.<ref>[https://books.google.com/books?id=kp6FAgAAQBAJ&dq=Juan+Arvizu+discovers+Agustin+Lara&pg=PA833 ''Encyclopedia of Contemporary Latin American and Caribbean Cultures''] Editors: Daniel Balderston, Mike Gonzalez, Ana M. López. Routledge Taylor and Francis Group, London p. 833 {{ISBN|1134788525}}, "Agustin Lara" biography - on books.google.com</ref><ref>[https://www.elsiglodetorreon.com.mx/noticia/1167578.1970-fallece-el-cantautor-mexicano-agustin-lara-el-flaco-de-oro.html ''El Sigo De Torrén - 1970: Fallece el cantautor mexicano Agustín Lara, 'El Flaco de Oro{{'}}'' Agustin Lara Obituary and Juan Arvizu on elsiglodetorreon.com]{{in lang|es}}</ref>

[[File:Agustín Lara (H. Peraza) Madrid 02.jpg|thumb|left|Agustín Lara (H. Peraza) Madrid 02]]

During the 1920s and 1930s, the [[tango]] was very popular in Mexico. Arvizu premiered many of these songs in Pepe Cantillo's music revue.<ref name="vintagemusic.fm">[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - Vintagemusic.fm'' Juan Arvizu premiers songs in Pepe Cantillo's music revue on vintagemusic.com]</ref> While searching for an accompanist, the tenor agreed to hire an unknown bohemian pianist at the ordinary Café Salambó. That pianist was Agustín Lara.<ref>[https://books.google.com/books?id=kp6FAgAAQBAJ&dq=Juan+Arvizu+discovers+Agustin+Lara&pg=PA833 ''Encyclopedia of Contemporary Latin American and Caribbean Cultures''] Editors: Daniel Balderston, Mike Gonzalez, Ana M. López. Routledge Taylor and Francis Group, London p. 833 {{ISBN|1134788525}}, "Agustin Lara" -biography - Juan Arvizu "Discovers" Agustín Lara on books.google.com</ref><ref name="vintagemusic.fm"/> At first, Agustín Lara was a tango composer, but his compositions lacked the proper accompaniment of the tango orchestra. As a result, his works were classified within the "creole song" genre. Arvizu was the first singer to champion Lara's compositions through his performances in cinemas and on the radio.<ref>[https://books.google.com/books?id=RmRdAAAAMAAJ&q=Juan+Arvizu ''Golpe aL Corazón: Tangos y Boleros'' Carlos Joaquin Ossa, Planeta, 1997 p. 32 Juan Arvizu on books.google.com]{{in lang|es}}</ref><ref>[https://books.google.com/books?id=mzsUAQAAIAAJ&q=Juan+Arvizu+Agustin+Lara ''What Boleros Tell: The Story of 100 beautiful boleros, their composer and their best performers'' Hernán Restrepo Duque. Centro de Estudios Musicales, 1992, p. 33 Juan Arvizu - first interpreter of Lara who premiers his works on radio XEW on google.books.com]{{in lang|es}}</ref> The performances of the Lara-Arvizu duo on radio XEW were well received by the public.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu Biographie - Vintagemusic.fm'' Juan Arvizu and Agustín Alara and the tango history on vintagemusic.fm]</ref> Along with other leading vocalists of the time such as [[Pedro Vargas]] and [[Alfonso Ortiz Tirado]], Arvizu helped to popularize several of Lara's greatest compositions.<ref>[https://books.google.com/books?id=d7DHvfmzHhkC&dq=Juan+Arvizu&pg=PA157 ''From Tejano to Tango: Essays on Latin American Popular Music''] Editor: Walter Aaron Clark. Routledge, New York, 2002 p. 157 {{ISBN|0-8153-3639-X}} "From Tejano To Tango - Essays on Latin American Popular Music - Époco de oro - Juan Arvizu helps popularize Agustín Lara, see page 157 on google.books.com</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Biography&pg=PT73 ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 56-57 {{ISBN|978-0-19-989245-7}} Juan Arvizu and Ortiz Tirado help to promote the work of Agustin Lara on books.google.com</ref> They included such works as: ''Aventura'', ''Concha Nacar'', ''Cuando Vuelvas'', ''Enamorada'', ''[[Granada (song)|Granada]]'', ''Santa'' and ''Tus Pupilas''.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ Juan Arvizu Biography on vintagemnsuc.fm]</ref><ref name="youtube.com">[https://www.youtube.com/watch?v=XZZ8QmP_rzc ''Juan Arvizu - Granada'' Juan Arvizu performs with Orchestra on youtube]</ref><ref>[http://adp.library.ucsb.edu/index.php/resources/detail/163 Juan Arvizu and Orchestra Discography including "Granada" on "Discography of American Historical Recordings" - University of California at Santa Barbara - Library - Juan Arvizu Discography on adp.library.ucsb.edu]</ref>

Juan Arvizu achieved international recognition in the 1930s. By 1935, the singer made his first international tour and arrived in Buenos Aires for the launching of the LR1 Radio El Mundo.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie'' on vintagemusic.fm]</ref> While his stay in Buenos Aires was scheduled for only two months, it lasted for over a year and a half.<ref name="todotango.com">[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Todo Tango - Juan Arvizu'' Biography of Juan Arvizu by Nestor Pinson on todotango.com]{{in lang|es}}</ref> It was a triumphant season for Juan Arvizu. This feat would be repeated years later when he finished his contract in New York with RCA Victor. He stayed in Argentina for 18 years and launched many concert tours abroad from this venue.<ref name="todotango.com"/>

The zenith of Juan Arvizu's career emerged in 1944. In Argentina alone, the singer earned $60,000. Audiences flocked to the stages and concert venues where Juan Arvizu appeared.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu Biographie'' on vintagemusic.fm]</ref> He lived for several years in Chile while performing boleros<ref>[https://books.google.com/books?id=GB03DwAAQBAJ&dq=Juan+Arvizu&pg=PT656 ''The Garland Encyclopedia of Music: South America, Mexico, Central America and the Caribbean'']. Editors Dale A. Danield E. Sheehy Olsen Garland Publishing Co. 1998 p. 372 {{ ISBN|0-8240-6040-7}} on books.google.com</ref> as well as in Colombia.

Upon returning to his native Mexico, however, Juan failed to receive the recognition which he had expected. With the passage of time, a new generation had emerged with different musical preferences. Juan had been pushed into the background. After a long tour in his native town of Queretáro, Mexico in 1967, he embarked upon a period of rest since his life had been characterized by continuous movement.<ref>[http://www.todotango.com/english/artists/biography/1585/Juan-Arvizu/ Juan Arvizu Biography on todotango.com]</ref>

===Recordings===
{{ external media |width=180px|image1=Photograph of Juan Arvizu on [[CBS Radio]] with [[Alfredo Antonini]] and the CBS Pan American Orchestra in 1941 [https://www.gettyimages.co.nz/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/1132944388?adppopup=true '''Here on Getty Images''']|image2=Photograph of Juan Arvizu on CBS Radio in 1941 [https://www.gettyimages.com/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/1132944383?adppopup=true '''Here on Getty Images''']|image3=Photograph of Juan Arvizu on CBS Radio in 1941 [https://www.gettyimages.com/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/613169546?adppopup=true '''here on Getty images''']}}

Juan Arvizu was one of the most recorded singers in the history of Latin music.<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu - Biographie'' on todotango.com]{{in lang|es}}</ref> As a prolific performer, he recorded for several leading labels including: [[RCA Victor]], [[Columbia Records]] and [[Tico Records]]. He often premiered compositions by several prominent Latin composers including: Mario Clavell from Argentina, [[Rafael Hernández Marín]] from Puerto Rico, Donato Roman Heitman from Chile, Enrique Fábrega from Panama, [[Carlos Vieco]], Augusto Duque from Colombia, and [[Agustín Lara]], Gonzalo Curiel and [[Gabriel Ruiz (songwriter)|Gabriel Ruiz Galindo]] from Mexico.<ref>[https://adp.library.ucsb.edu/index.php/talent/detail/889/Arvizu_Juan_vocalist_tenor_vocal ''DAHR Discography if American Historical Recordings - Juan Arvizu'' on University of California at Santa Barbara at adp.library.ucsb.edu]</ref>

Arvizu also performed in duo with other noted musicians. His recordings with Margarita Cueto include several famous songs such as: ''Taboga'', ''Más Vale Tarde Que Nunca,'' ''Bajo el Palmar,'' ''Deseparacíon,'' among many others. With Juan Pulido he recorded ''El Último Beso'' and with [[Alfonso Ortiz Tirado]], ''Negra Linda''. Arvizu was also accompanied by several renowned orchestras of his time including: Marimba Panamerica, the Chucho Zarzosa Orchestra, the Vieri Fidanzani Orchestra, the [[Francisco Lomuto]] Orchestra, the E. Vigil and Robles Orchestra, the Orchestra of Juan S. Garrido, the CBS Pan American Orchestra,<ref name="PictoralHistory" /><ref>Media Sound & Culture in Latin America. Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 books.google.com See pg. 49]</ref><ref>''The New York Times'' May 5, 1941 p. 32</ref> and many others.<ref>Hernán Restrepo-Duque: «Notas. A tropical night: Juan Arvizu. RCA Victor. Medellín: Sonolux.</ref>

Juan Arvizu is credited with several single recordings of [[boleros]], [[air (music)|aires]], [[wikt:tangos|tangos]], [[waltzes]] and [[milonga (music)|milongas]]. It has been estimated that during the course of his career he recorded over 2,000 discs. Among some of the most popular titles are his interpretations of: ''Arrepentimiento'' ''Cada Vez Que Me Recuerdes'', ''Corrientes y Esmeralda'', ''Qué Fácil Es Decir'', ''La Cumparsita'', ''Lágrimas de Sangre'', ''Madreselva Caminito'', ''Mi Buenos Aires Querido'', ''Mi Único Amor'', ''Nido Gaucho'', '' No Cantes Ese Tango'', ''Nuestra Casita'', ''Pecado'', ''Plegaria'', ''Prohibido'', '' Salud Dinero y Amor'', '' Señior Juez'', ''Si Dejaras de Quererme'', ''Sinceramente'', ''Tengo Mil Novias'', ''Verdemar'', ''Una Cación''.<ref name="todotango.com"/>

====''Serpentina Doble''====
Among the many songs showcased by Arvizu is the composition ''Serpentina Doble'' by Juan Rezzano. The song tells the tale of a boy who was selling colored strips of paper and subsequently suffers a fatal accident caused by a vehicle which is driven by a [[pierrot]] at a carnival. The boy passes away in a hospital just as the carnival also comes to an end. The composer of the song is said to have heard his father singing the beautiful melody at home when he was very young.<ref>[http://www.mp3s-musica.com/descargar/juan-arvizu-80-anios ''Juan Arvizu 80 anos MP3 - Serpentina Doble'' as sung by Juan Arvizu on mp3s-musica.com] {{Webarchive|url=https://web.archive.org/web/20180501160827/http://www.mp3s-musica.com/descargar/juan-arvizu-80-anios |date=2018-05-01 }}{{in lang|es}}</ref><ref>[http://www.hermanotango.com.ar/Letras%20281007/SERPENTINA%20DOBLE.htm ''Serpentina Doble'' by Juan Rezzano on hermanotango.com]{{in lang|es}}</ref>

===Cinema===
The "Seventh Art" also benefited from the presence of Juan Arvizu. He participated in several films including ''Santa'' and ''Reír llorando'', which were produced in Mexico. In Cuba, Arvizu starred in the most important film of his career ''Ahora Seremos Felices'' with the charismatic Puerto Rican artist [[Mapy Cortés]].<ref>[https://www.imdb.com/title/tt2191607/?ref_=nmbio_mbio ''Ahora Seremos Felices'' Film featuring Juan Arvizu in 1938 on IMDB.com]</ref> By 1939, Arvizu had already reached the zenith of his fame. Even though the plot of the film was simple, it generated fabulous revenues. Arvizu sang several boleros by the composer [[Rafael Hernández Marín|Rafael Hernández]] including: ''Quiero Decirte'', ''Las Palomitas'', ''Purísima'' and ''Ahora Seremos Felices''. In 1940 he also sang in the film ''Infidelidad'' in collaboration with the actor Jorge Vélez.<ref>[https://www.imdb.com/title/tt0177863/fullcredits?ref_=tt_cl_sm#cast ''Infidelidad (1940)'' - Film featuring Juan Arvizu and Jorge Vélez on IMDB.org]</ref><ref>[https://www.imdb.com/name/nm0038139/bio?ref_=nm_ov_bio_sm ''Juan Arvizu Biography'' on IMDB.org]</ref> In the 1950s he performed in several biographical films about the composer María Grever including: ''Cuando Me Vaya'' (1954)
which earned two [[Ariel Awards]] and ''O Grande Amor De María Grever 1954 Leg'' (1954).<ref>[https://www.imdb.com/title/tt0045662/?ref_=ttfc_fc_tt ''Cuando Me Vaya'' Film featuring performance by Juan Arvizu on imdb.org]</ref><ref>[https://www.imdb.com/title/tt0045662/awards?ref_=tt_awd ''Cuando Me Vaya'' Ariel Awards (1955) on imdb.com]</ref><ref name="Juan Arvizu on imdb.com">[https://www.imdb.com/name/nm0038139/?ref_=fn_al_nm_1 Juan Arvizu on imdb.com]</ref><ref>[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Grande Amor De María Grever 1954 Leg'' Film featuring performance by Juan Arvizu on Archive.org]</ref>

=== Performance style ===
During the course of his long career recording music for the Victor label, Arvizu's performances were reviewed by critics in such leading magazines as ''The Billboard''. He was consistently praised for a passionate delivery as well as a dramatic style of chanting.<ref>[https://books.google.com/books?id=AhcEAAAAMBAJ&dq=Juan+Arvizu&pg=PT88 ''The Billboard - Artist's Tunes Labvel and No. - Latin American Juan Arvizu (Victor 23-107)'' Record review of Juan Arvizu in performance on "The Billboard" January 1, 1949 p. 89 on boobks.google.com]</ref><ref>[https://books.google.com/books?id=8BYEAAAAMBAJ&dq=Juan+Arvizu&pg=PT49 ''The Billboard - Artists TUnes LAbels And No. - Latin American - Juan Arvizu - George Adreann Ork'' Critical review of Juan Arvizu performing in "The Billboard" magazine January 15, 1949 p. 109 on books.google.com]</ref> He was also applauded for his full bodied chanting and the full tonal quality of his voice.<ref>[https://books.google.com/books?id=AB4EAAAAMBAJ&dq=Juan+Arvizu&pg=PA106 ''The Billboard - Artist Tunes Labels and No. - Latin-American - Juan Arvizu - Vieri Fidanzini Ork (Victor 23=0993)'' Critical review of Juan Arvizu performing in "The Billboard" magazine October 30, 1948 p. 106]</ref>

=== Death ===
Juan Arvizu died in Mexico City November 19, 1985. His musical legacy includes a compendium of single recordings for [[RCA Victor]], [[Columbia Records]] and [[Tico Records]] some of which were produced in both North and South America. They embody an extensive repertoire which includes the music of his fellow Mexican artists [[Agustín Lara]] and [[María Grever]].<ref name="adp.library.ucsb.edu">[http://adp.library.ucsb.edu/index.php/resources/detail/163 ''Discography of American Historical Recordings - Juan Arvizu'' Discography of Juan Arvizu - University of California Santa Barabara at adp.library.ucsb.edu]</ref><ref name="todotango.com"/> He is recognized as one of the leading Mexican tenors of his era who championed the compositions of Agustín Lara.<ref>[https://www.thefreelibrary.com/Mexican+musicians+in+California+and+the+United+States%2C+1910-50.-a0155283831 ''Mexican Tenors in California and the United States 1910-50'' - "TWO MEXICAN TENORS" - Juan Arvizu (1900-1985) identified as a leading Mexican tenor of his era on thefreelibrary.com]</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Maria+Grever&pg=PT149 ''Agustín Lara - A Cultural Cultural Biography'' Andrew Grant Wood Oxford University Press - Juan Arvizu and Maria Grever on google.books.com]</ref><ref>[https://books.google.com/books?id=RmRdAAAAMAAJ&q=Juan+Arvizu ''Golpe al Corazón: Tangos y Boleros'' Carlos Joaquín Ossa Planeta, 1997, p. 32 Juan Arvizu described as noted and vibrant singer who first championed the work of Agustin Lara-- on google.books.com]</ref><ref>[https://books.google.com/books?id=pQgEAAAAMBAJ&dq=Juan+Arvizu+Agustin+Lara&pg=PA39 ''The Billboard - A Mexican TV Series Will Honor 150 Radio Artists'' March 30, 1968 p. 39 Juan Arvizu featured in "The Golden Epoch of Radio" on XEW_TV on google.books.com]</ref>

==Discography==
Also included among Juan Arvizu's single recordings are:<ref name="adp.library.ucsb.edu"/>

* ''A La Misma Hora'' - Tico (#10-055 B) - Juan Arvizu with organist Salvador Muñoz perform this song by Ferradas Compos (19??)<ref>[https://archive.org/details/78_a-la-misma-hora_juan-arvizu-salvador-munoz-ferradas-compos-jose-tinelli_gbia0021428b ''A La Misma Hora'' Single record Juan Arvizu performs with organist Salvador Muñoz on Archive.org]</ref>
* ''Chamaca Mia'' - Victor (#46108-B) - Juan Arvizu with orchestra performs this song by María Grever (1929)<ref>[https://archive.org/details/78_chamaca-mia-sweet-girl-of-mine_juan-arvizu-maria-grever-e-vigil-y-robles_gbia0021641b ''Chamaca Mia'' Single record performed by Juan Arvizu with orchestra on Archive.org]</ref>
* ''Daño'' - RCA Victor (#23-6818) - Juan Arvizu and the Orquesta Chucho Zarzosa performm this bolero by Carlos Arturo Briz (19??)<ref>[https://archive.org/details/78_dano-harm_juan-arvizu-orquesta-chucho-zarzosa-carlos-arturo-briz_gbia0021420b ''Daño'' Single record performed by Juan Arvizu and Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''De Donde?'' - Columbia (#36666) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by María Grever (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/08+-+De+Donde%3F+-+Juan+Arvizu+and+the+C.+B.+S+Tipica+Orchestra.flac ''De Donbde?'' Single record performed by Juan Arvizu with CBS Tipica Orchestra conducted by Alfredo Antonini on Archinve.org]</ref>
* ''El Ay, Ay, Ay'' - RCA Victor (#23-5260-b) - Juan Arvizu and Mario Clavell with Orquesta Federico Ojeda perform a rabanal by Juan S. Garrido (19??)<ref>[https://archive.org/details/78_el-ay-ay-ay_juan-avizu-y-mario-clavell-orquesta-federico-ojeda-rabanal-juan-s-ga_gbia0021424b '' El Ay, Ay, Ay'' Single record Juan Arvizu and Mario Clavell with Orquesta Federico Ojeda on Archive.org]</ref>
* ''El Bigote de Tomas'' - Columbia (#36666) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by Valie (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/07+-+El+Bigote+de+Tomas+-+Juan+Arvizu+and+the+C.+B.+S+Tipica+Orchestra.flac ''El Bigot de Tomas'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''El Tulipan'' RCA Victor (23-6318) - Juan Arvizu and La Orquestra Chucho Zarzosa perform this polca by Clara Solovera (19??)<ref>[https://archive.org/details/78_el-tulipan-the-tulip_juan-arvizu-orquesta-chucho-zarzosa-clara-solovera_gbia0021422a ''El Tulipan'' Single record performed by Juan Arvizu and La Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''Ella'' - Tico (#10-056-B) - Juan Arvizu and the Orquesta Simon Alvarez perform this bolero by J. A. Jimenaz (19??)<ref>[https://archive.org/details/78_ella_juan-arvizu-simon-alvarez-j-a-jimenez_gbia0021639b ''Ella'' Single record performed by Juan Arvizu and Orquesta Simon Alvarez on Archive.org]</ref>
* ''Enamorada'' - Barcelona Compaňia del Gramófono Odeón (AQ 73065) - Juan Arvizu with Orchestra perform this bolero by Agustín Lara (1946)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Enamorada'' Single record performed by Juan Arvizu and Orchestra archived at the Biblioteca Digital Hispánica - Biblioteca Nacional de España on bdh.bne.es]{{in lang|es}}</ref>
* ''[[Granada (song)|Granado]]'' - Victor (30705) - Juan Arvizu with Orchestra sings this bolero by Agustín Lara (1932)<ref name="youtube.com"/><ref>[http://adp.library.ucsb.edu/index.php/resources/detail/163 ''Granada'' - Juan Arvizu and Orchestra performing on Victor Records (#30705) on "Discography of American Historical Recordings" - University of California at Santa Barbara - Library - Juan Arvizu and Granada on adp.library.ucsb.edu]</ref>
* ''Juan Arvizu - Trubador of the Americas''- Columbia (#36663) - Juan Arvizu with the CBS Tipica Orchestra conducted by [[Alfredo Antonini]] (1941)<ref>[https://archive.org/details/78_duerme-time-was_juan-arvizu-and-the-c-b-s-tipica-orchestra-bermejo-alfredo-ant_gbia0021701/02+-+Duerme+(Time+Was)+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Juan Arvizu - Trubador of the Americas'' Single record - Juan Arvizu performing with Alfredo Antonini's CBS Tipica Orchestra on Archive.org]</ref> List of musical selections: ''Rancho Alegre''- Felipe Bermejo Araujo, ''Duerme'' - Prado
* ''La Bamba'' - RCA Victor (#68-0612-A) - Juan Arvizu with orchestra performs this song by Luis Martinez Serrano (19??)<ref>[https://archive.org/details/78_la-bamba_juan-arvizu-luis-martinez-serrano_gbia0038485a ''La Bamba'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
*''Lejos'' - Victor (#32550-B) - Juan Arvizu and the Alfredo Cibelli Orchestra perform this canción creolla by M. Theresa Lara (1934)<ref>[https://archive.org/details/78_lejos_juan-arvizu-alfredo-cibelli-m-teresa-lara_gbia0038631b ''Lejos'' Single record performed by Juan Arvizu and the Alfredo Cibelli Orchestra on archive.org]</ref>
* ''Llevame'' - Tico (#10-056-A) - Juan Arvizu and the Orquesta Simon Alvarez perform this bolero by Juan Clauso (19??)<ref>[https://archive.org/details/78_llevame_juan-arvizu-simon-alvarez-juan-clauso-tito-ribero_gbia0021639a ''Llevame'' Single record performed by Juan Arvizu and the Simon Alvarez Orchestra on Archive.org]</ref>
* ''Me lo Cantaron Ayer'' - RCA Victor (#23-5260-A) - Juan Arvizu and La Orquesta de Federico Ojeda perform this bolero mambo by Alcas/Daglio (19??)<ref>[https://archive.org/details/78_me-lo-contaron-ayer_juan-arvizu-orq-de-federico-ojeda-alcas-daglio_gbia0021424a ''Me lo Cantaro Ayer'' Single record performed by Junan Arvizu and La Orquesta de Federico Ojeda on Archive.org]</ref>
* ''Mi Carta'' - RCA Victor (#68-0612-B) - Juan Arvizu and orchestra perform this song by Mario Clavelli (19??)<ref>[https://archive.org/details/78_mi-carta_juan-arvizu-mario-clavelli_gbia0038485b ''Mi Carta'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
* ''Mi Sarape'' - Colombia (#36665) - Juan Arvizu and the CBS Tipica Orchestra conductor Alfredo Antonini perform this song by María Grever (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/05+-+Mi+Sarape+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Mi Sarape'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Nada, Nada'' - RCA Victor (#23-1233-A)- Juan Arvizu and the Orquesta de la Radio Caracas perform this guaracha by Jose Reyna (19??)<ref>[https://archive.org/details/78_nada-nada_juan-arvizu-orquesta-de-la-radio-caracas-jose-reyna_gbia0021427a ''Nada, Nada'' Single record performed by Juan Arvizu and the Orquesta de la Radio Caracas on Archive.org]</ref>
* ''No Hagas Llorar A Esa Mujer'' - RCA Victor (#23-6818) - Juan Arvizu and the Orquesta Chucho Zarzosa perform this bolero by Joaquin Pardarve (19??)<ref>[https://archive.org/details/78_no-hagas-llora-a-esa-mujer-dont-make-her-cry_juan-arvizu-orquesta-chucho-zarzosa_gbia0021420a ''No Hagas Llorar A Esa Mujer'' - Single record performed by Juan Arvizu and Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''No Mereces Nada'' - RCA Victor (#23-7149) - Juan Arvizu and La Orquesta Rafael de Paz perform this song by Manuel Alvarez Maciste (19??)<ref>[https://archive.org/details/78_no-mereces-nada-you-dont-deserve-anything_juan-arvizu-orq-rafael-de-paz-manuel_gbia0021423b ''No Merceces Nada'' Single record performed by Juan Arvizu and La Orquesta Rafael de Paz on Archive.org]</ref>
* ''Noche de Amor'' - Columbia (#36664) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini music by Tchaikovsky (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/04+-+Noche+de+Amor+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Noche de Amor'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfr3edo Antonini on archive.org]</ref>
* ''[[Perfidia]]'' - Victor (#82690-A) - Juan Arvizu with Marimba Pan-Americana and accordion perform this Foxtrot by Alberto Dominguez (19??)<ref>[https://archive.org/details/78_perfidia_marimba-pan-americana-juan-arvizu-alberto-dominguez_gbia0021642a ''Perfidia'' Single record performed by Juan Arvizu with Marimba Pan-Americana and accordion on Archive.org]</ref>
* ''Pobre Corazon'' - RCA Victor (#23-6936) - Juan Arvizu with piano, guitar and accordion perform this Valse Pasillo by Manilo/Oliviero (19??)<ref>[https://archive.org/details/78_pobre-corazon-mio-my-poor-heart_juan-arvizu-manlio-y-oliviero_gbia0021419b ''Pobre Corazon'' Single record performed by Juan Arvizu with accordion, guitar and piano on arechive.org]</ref>
* ''Poquito a Poco'' - Tico (#10-055A) - Juan Arvizu and the Simon Alvarez Orchestra perform this song by Don Fabian (19??)<ref>[https://archive.org/details/78_poquito-a-poco_juan-arvizu-simon-alvarez-don-fabian_gbia0021428a ''Pobre Corazon'' Single record performed by Juan Arvizu with the Simon Alvarez Orchestra on Archive.org]</ref>
* '' Que Paso?'' - Columbia (#36665) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Anonini perform this song by Cortazar (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/06+-+Que+Paso%3F+-+Juan+Arvicu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Que Paso?'' Single record performed by Juan Arvizu and CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Senior del Milagro'' - RCA Victor (#23-6936) - Juan Arvizu performs this bolero by Cancho Manisella Casto with piano, guitar and accordion (19??)<ref>[https://archive.org/details/78_senor-del-milagro-miracle-man_juan-arvizu-cacho-manisella-castro_gbia0021419a ''Senior Del Milagro'' Single record performed by Juan Arvizu on archive.org]</ref>
* ''Señora Tentación'' - Barcelona Compaňia del Gramófono Odeón (AQ 73067) - Juan Arvizu with Orchestra perform this bolero by Agustín Lara (1946)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Seňora Tentación'' Single record performed by Juan Arvizu and Orchestra archived at the Biblioteca Digital Hispánica - Biblioteca Nacional de España on bdh.bne.es]{{in lang|es}}</ref>
* ''Tu, Tu, y Tu'' - Victor (#46108-A) - Juan Arvizu performs this song by María Grever (1929)<ref>[https://archive.org/details/78_tu-tu-y-tu-you-only-you_juan-arvizu-maria-grever_gbia0021641a ''Tu, Tu, y Tu'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
* ''Ven '' - Victor (#32250-A) - Juan Arvizu perform this fox trot bolero by Gonzolo Curiel with the Alfredo Cibelli Orchestra (1934)<ref>[https://archive.org/details/78_ven_juan-arvizu-alfredo-cibelli-gonzalo-curiel_gbia0038631a ''Ven'' Single record performed by Juan Arvizu and the Alfredo Cibelli Orchestra on Archive. org]</ref>
* ''Viva Sevilla!'' - Columbia (#36664) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by Lavidada/Delmoral (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 ''Viva Sevilla!'' Single record performed by Juna Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Volvi'' - Tico (#10-059 B) - Juan Arvizu with piano and orchestra perform this song by E. Grenet (19??)<ref>[https://archive.org/details/78_volvi_juan-arvizu-salvador-munoz-e-grenet_gbia0021425b '' Volvi'' Single record performed by Juan Arvizu with piano and orchestra on Archive.org]</ref>
* ''Voy Gritando por la Calle'' RCA Victor (#23-7149) Juan Arvizu and La Orqesta Rafael de Paz perform this bolero by Fernando Z. Maldanado (19??)<ref>[https://archive.org/details/78_voy-gritando-por-la-calle-im-sad_juan-arvizu-orq-rafael-de-paz-fernando-z-mald_gbia0021423a ''Voy Gritando por la Calle'' Single record performed by Juan Arvizu and La Orquesta Rafael de Paz on Archive.org]</ref>
* ''Ya lo Ves'' - RCA Victor (#23-1233-B) - Juan Arvizu and the Orquesta de la Radio Caracas perform this bollero with Trio Mastra (19??)<ref>[https://archive.org/details/78_ya-lo-ves_juan-arvizu-orquesta-de-la-radio-caracas-trio-mastra_gbia0021427b ''Ya no Ves'' Single record performed by Juan Arvizu and Trio Mastra on Archive.org]</ref>
* ''Yo'' - Tico (#10-059 A) - Juan Arvizu and the organist Salvador Muñoz perform this song by J. A. Jimenez (19??)<ref>[https://archive.org/details/78_yo_juan-arvizu-salvador-munoz-j-a-jimenez_gbia0021425a ''Yo'' Single record performed by Juan Arvizu and organist Salvador Muñoz on Archive.org]</ref>

==Filmography==
* ''O Grande Amor De María Grever 1954 Leg'' - Juan Arvizu as himself singing (1954)<ref>[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Grande Amor De María Grever 1954 Leg'' Biographical film of María Grever featuring Juan Arvizu in performance on Archive.org]</ref>
* ''[[When I Leave|Cuando Me Vaya]]'' - Juan Afrvizu as himself singing (1954)<ref>[https://www.imdb.com/title/tt0045662/?ref_=nm_flmg_act_1 ''Cuando Me Vaya'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>
* ''Infidelidad'' - Juan Arvizu as himself singing (1940)<ref>[https://www.imdb.com/title/tt0177863/fullcredits?ref_=tt_cl_sm#cast ''Infidelidad'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>
* ''Ahora Seremos Felices'' - Juan Arvizu as a singer (1938)<ref>[https://www.imdb.com/title/tt2191607/?ref_=ttfc_fc_tt ''Ahora Seremos Felices'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>

== See also ==
{{Portal bar|Biography|Music|Latin music|Classical music|Opera|Mexico}}

== References ==
{{reflist}}

==External links==
* [https://archive.org/search.php?query=Juan%20Arvizu Recordings of Juan Arvizu in performance on Archive.org]
* [http://frontera.library.ucla.edu/artists/juan-arviz%C3%BA Recordings of Juan Arvizu in performance - Strachwitz Frontera Collection of Mexican and Mexican American Recordings at the University of California Los Angeles on library.ucla.edu]
*[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 ''Viva Sevilla!'';''Noche de Amor'';''Mi Sarape'';''Que Paso?'';''El Bigote de Tomas'';''De Donde'' Recordings of Juan Arvizu performing with CBS Tipica Orchestra conducted by Alfredo Antonini with acordionist John Serry Sr. on Archive.org]
* [http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Enamorada'' and ''Señora tentación'' by Agustín Lara performed by Juan Arvizu and orchestra on Biblioteca Digital Hispánica - Biblioteca Nacional De Esapaña at bdh.bne.ed {{in lang|es}}]
* [http://www.todotango.com/musica/tema/2939/Plegaria/ ''Plegaria'' Recording of Juan Arvizu with orchestra singing this tango by Eduardo Bianco on todotango.com {{in lang|es}}]
* {{IMDb name}}
* [https://adp.library.ucsb.edu/names/100191 Juan Arvizu recordings] at the [[Discography of American Historical Recordings]].
{{authority control}}

{{DEFAULTSORT:Arvizu, Juan}}
[[Category:Mexican tenors]]
[[Category:Victor Records artists]]
[[Category:Columbia Records artists]]
[[Category:1900 births]]
[[Category:1985 deaths]]
[[Category:Tico Records artists]]
[[Category:People from Querétaro City]]
[[Category:20th-century Mexican male singers]]

Juan Arvizu

2024-10-03T23:23:56Z

160.72.80.178: /* Discography */ ''Removed dead External Media link''~~~~NHPL

{{Short description|Mexican singer (1900–1985)}}
{{Infobox musical artist
| name = Juan Arvizu
| image = Juan Arvizu.jpg
| image size =
| alt =
| caption = Arvizu in 1944
| birth_name = Juan Nepomuceno Arvizu Santelices
| alias = Juan Arvizu
| birth_date = {{birth_date|1900|5|22}}
| birth_place = [[Santiago de Querétaro]], Mexico
| origin =
| death_date = {{death date and age|1985|11|19|1900|5|22}}
| death_place = [[Mexico City]], Mexico
| genre = [[Opera]], [[Bolero]], [[Vocalist]]
| occupation = [[Lyric tenor]]
| instrument =
| years_active = 1924–1967
| associated_acts = [[New York Philharmonic]], [[CBS]] Pan American Orchestra, Consuelo Escobar de Castro Opera, Orquesta de la Radio Caracas, [[Agustín Lara]], [[Nestor Mesta Chayres]], [[John Serry Sr.]], [[Voice of America]], [[Viva América]]
}}
'''Juan Nepomuceno Arvizu Santelices''' (known as '''Juan Arvizu'''; May 22, 1900 – November 19, 1985), was an acclaimed lyric [[tenor]] in [[Mexico]] and a noted interpreter of the Latin American [[bolero]] and [[tango]] on the international concert stage, on the radio and in film. He was widely noted for his interpretations of the works of [[Agustin Lara]] and [[María Grever]] and was nicknamed "The Tenor With the Silken Voice".

==Biography==
===Early years===
Juan Nepomuceno Arvizu Santelices was born in [[Querétaro]], Mexico, to Pedro Arvizu and Trinidad Santelices. As a child, he assisted his father as a radio-telegraph operator. His mother encouraged him to study vocalization, [[solfège]] and harmony while he sang in a children's choir. By the age of 22 he was accepted into the [[Conservatorio Nacional de Música (Mexico)]] in [[Mexico City]], where he continued his studies.<ref>[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu - Biography on books.google.com</ref> His artistic abilities attracted the attention of several music teachers including José Pierson, who had instructed such noted vocalists as [[Jorge Negrete]], [[José Mojica]], [[Alfonso Ortiz Tirado]], [[Pedro Vargas]] and Juan Pulido. Arvizu first appeared with Pierson's opera company while performing on stage with the noted soprano [[Ángeles Ottein]] and [[Consuelo Escobar de Castro|Consuelo Escobar]].<ref>Hernán Restrepo-Duque: «Notas. Prohibited in the Voice of Juan Arvizu. RCA Victor. Medellín: Sonolux.</ref>

At the age of 24, Arvizu made his debut at the Teatro Esperanza Iris with a role in ''La sonámbula'' by [[Vincenzo Bellini]].<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu Biography'' - Juan Arvizu debut at Teatro Esperanza Iris on todotango.com]</ref> As a member of the Consuelo Escobar de Castor Opera Company he continued in this role and traveled abroad. He visited New York City during this time and continued to augment his operatic repertoire to include the [[Argentine tango]] and the works of [[María Grever]] and Alfonso Esparza Oteo. By 1927, Arvizu returned to Mexico and appeared in another operatic production at the Teatro Esperanza Iris of [[Giacomo Meyerbeer]]'s work ''[[Dinorah]]''.<ref name="books.google.com">[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu on books.google.com</ref>

While Arvizu's natural vocal qualities and the power of his operatic voice attracted the attention of the public, he faced financial obstacles in his professional endeavors at this time. With this in mind he increased his repertoire to include the popular tango and initiated appearances in cafes and cinemas.<ref name="books.google.com"/> Pepe Cantillo, who directed one of the most famous music revues in Mexico soon engaged Arvizu.<ref>Hernán Restrepo-Duque: Notas. The songs of “Ahora seremos felices” and other hits of those days. RCA Victor. Medellín: Sonolux.</ref><ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - Vintagemusic.fm'' Juan Arvizu performs in music revue of Pepe Cantillo on vintagemusic.fm]</ref> His performances in the opera house also attracted the attention of leading figures in the phonographic industry. At this time the popular music field welcomed such noted operatic artists as Margarita Cueto, [[Pedro Vargas]], Juan Pulido, Carlos Mejía, [[Carlos Almenar Otero]], [[Alfredo Sadel]] and [[Tito Schipa]] among others. Juan Arvizu was no exception, entrusting his voice to the Brunswick record label in 1928. His first recording of the song ''Varita de nardo'' by Joaquin Pardavé was well received among audiences. The [[RCA Victor]] record label soon included him on their staff, thereby beginning one of the most prolific careers in popular music. The composer [[Jorge del Moral]] entrusted his composition ''Por Unos Ojos'' to Arvizu, whose vocal versatility and musical qualities earned him the nickname "The Tenor With the Silken Voice".<ref>[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu- "The Tenor With The Silken Voice" on books.google.com</ref><ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Todo Tango - Juan Arvizu - nicknames El Tenor de la Voice de Seda --The Tenor with the Silken Voice'' on todotango.com]</ref><ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - "The Tenor With The Silken Voice'' on www.vintagemusic.fm]</ref>

===International recognition===
Based upon these achievements, Radio [[XEW-AM|XEW]] in Mexico invited Arvizu in 1930 to inaugurate its first broadcast in 1930.<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu - Biography in Todo Tango'' - Juan Arvizu inaugurates Radio XEW on tototango.com]</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Biography&pg=PT73 ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 56-57 {{ISBN|978-0-19-989245-7}} Juan Arvizu and Agustin Lara collaborate on the launch of radio XEW on books.google.com</ref> This would not be the only time that the "Tenor With the Silken Voice" would receive such recognition. In fact, Arvizu had the honor of initiating broadcasts on several other international radio stations. For example, in 1935, he inaugurated a show on LR1 - Radio El Mundo in Buenos Aires, Argentina.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biography - Vintagemusic.fm'' Juan Arvizu inaugurates Radio LR1 in vintagemusic.fm]</ref> Years later in 1942 he premiered with the Cadena de Las Amėricas of the [[Columbia Broadcasting System]] (CBS) and [[Voice of America]] on the ''[[Viva América]]'' show in New York, in collaboration with the orchestra conductor [[Alfredo Antonini]], the Puerto Rican vocalist [[Elsa Miranda]], the Argentine composer [[Terig Tucci]], the Mexican American vocalist [[Eva Garza]] and the concert accordionist [[John Serry Sr.]]<ref>'The New York Times", May 5, 1941, Pg. 32</ref><ref name="PictoralHistory">{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (Juan Arvizu photographed with the CBS Pan American Orchestra in New York)</ref><ref>Media Sound & Culture in Latin America & The Caribbean. Editores: Bronfman, Alejandra & Wood, Andrew Grant.University of Pittsburgh Press, Pittsburgh, PA, USA, 2012 Pg. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Books.google.com Vea la pág. 49]</ref><ref>[https://books.google.com/books?id=aPAvAAAAYAAJ&q=Juan+Arvizu ''The Pan American'' - Volume 2 1941, p. 46, p. 55- "Latin American Ballad Singer Comes For Radio" Juan Arvizu on books.google.com]</ref><ref>[https://books.google.com/books?id=2E4QAAAAIAAJ&q=Juan+Arvizu ''Newsweek'' Volume 17 1941 p. 68 Juan Arvizu recruited by Edmund Chester for CBS radio on google.books.com]</ref><ref>[https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''] Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 155-157 {{ISBN|978-0-8166-7316-2}} Eva Garza and Viva America on google.books.com</ref> In 1941 he also collaborated with the [[Andre Kostelanetz]] Orchestra in live performance on the radio for WABC in New York City.<ref>[https://books.google.com/books?id=QXMrk00pi-sC&dq=Juan+Arvizu&pg=PA317 ''Andre Kostelanetz on Records and On The Air - A Discography and Radio Log''] North, James A. The Scarecrow Press Inc., Plymouth UK 2011 p. 317 {{ISBN|978-0-8108-7732-0}} on books.google.com</ref> By 1945 his performances on the CBS network were heard by audiences in twenty Latin American nations and were rebroadcast for members of America's Armed forces on the Armed Forces Radio Service.<ref>[https://books.google.com/books?id=Qx00pQIkclMC&q=ociaa&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''] Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 152-155 {{ISBN|978-0-8166-7316-2}} OCIAA (Office of the Coordinator of Inter-American Affairs), FDR's Good Neighbor Policy, CBS, Viva America, La Cadena de las Americas on google.books.com</ref><ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&dq=Nestor+Mesta+Chayres&pg=PA33 ''The Directory of the Armed Forces Radio Service'' Mackenzie, Harry. Greenwood Press, London, 1999, p. 33 Recordings by Alfredo Antonini with Juan Arvizu and Nestor Mesta Chayres on the Directory of the Armed Forces Radio Service during 1945-1949 on Google Books]</ref>
His performances with the CBS Pan American Orchestra were also noteworthy for helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States during the 1940s.<ref>Media Sound & Culture in Latin America & The Caribbean. Editores: Bronfman, Alejandra & Wood, Andrew Grant.University of Pittsburgh Press, Pittsburgh, PA, USA, 2012 Pg. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Juan Arvizu, CBS Pan American Orchestra & Latin American music Books.google.com]</ref> But one of his greatest achievements was to "discover" one of Mexico's leading composers, [[Agustín Lara]] in 1929.<ref>[https://books.google.com/books?id=kp6FAgAAQBAJ&dq=Juan+Arvizu+discovers+Agustin+Lara&pg=PA833 ''Encyclopedia of Contemporary Latin American and Caribbean Cultures''] Editors: Daniel Balderston, Mike Gonzalez, Ana M. López. Routledge Taylor and Francis Group, London p. 833 {{ISBN|1134788525}}, "Agustin Lara" biography - on books.google.com</ref><ref>[https://www.elsiglodetorreon.com.mx/noticia/1167578.1970-fallece-el-cantautor-mexicano-agustin-lara-el-flaco-de-oro.html ''El Sigo De Torrén - 1970: Fallece el cantautor mexicano Agustín Lara, 'El Flaco de Oro{{'}}'' Agustin Lara Obituary and Juan Arvizu on elsiglodetorreon.com]{{in lang|es}}</ref>

[[File:Agustín Lara (H. Peraza) Madrid 02.jpg|thumb|left|Agustín Lara (H. Peraza) Madrid 02]]

During the 1920s and 1930s, the [[tango]] was very popular in Mexico. Arvizu premiered many of these songs in Pepe Cantillo's music revue.<ref name="vintagemusic.fm">[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - Vintagemusic.fm'' Juan Arvizu premiers songs in Pepe Cantillo's music revue on vintagemusic.com]</ref> While searching for an accompanist, the tenor agreed to hire an unknown bohemian pianist at the ordinary Café Salambó. That pianist was Agustín Lara.<ref>[https://books.google.com/books?id=kp6FAgAAQBAJ&dq=Juan+Arvizu+discovers+Agustin+Lara&pg=PA833 ''Encyclopedia of Contemporary Latin American and Caribbean Cultures''] Editors: Daniel Balderston, Mike Gonzalez, Ana M. López. Routledge Taylor and Francis Group, London p. 833 {{ISBN|1134788525}}, "Agustin Lara" -biography - Juan Arvizu "Discovers" Agustín Lara on books.google.com</ref><ref name="vintagemusic.fm"/> At first, Agustín Lara was a tango composer, but his compositions lacked the proper accompaniment of the tango orchestra. As a result, his works were classified within the "creole song" genre. Arvizu was the first singer to champion Lara's compositions through his performances in cinemas and on the radio.<ref>[https://books.google.com/books?id=RmRdAAAAMAAJ&q=Juan+Arvizu ''Golpe aL Corazón: Tangos y Boleros'' Carlos Joaquin Ossa, Planeta, 1997 p. 32 Juan Arvizu on books.google.com]{{in lang|es}}</ref><ref>[https://books.google.com/books?id=mzsUAQAAIAAJ&q=Juan+Arvizu+Agustin+Lara ''What Boleros Tell: The Story of 100 beautiful boleros, their composer and their best performers'' Hernán Restrepo Duque. Centro de Estudios Musicales, 1992, p. 33 Juan Arvizu - first interpreter of Lara who premiers his works on radio XEW on google.books.com]{{in lang|es}}</ref> The performances of the Lara-Arvizu duo on radio XEW were well received by the public.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu Biographie - Vintagemusic.fm'' Juan Arvizu and Agustín Alara and the tango history on vintagemusic.fm]</ref> Along with other leading vocalists of the time such as [[Pedro Vargas]] and [[Alfonso Ortiz Tirado]], Arvizu helped to popularize several of Lara's greatest compositions.<ref>[https://books.google.com/books?id=d7DHvfmzHhkC&dq=Juan+Arvizu&pg=PA157 ''From Tejano to Tango: Essays on Latin American Popular Music''] Editor: Walter Aaron Clark. Routledge, New York, 2002 p. 157 {{ISBN|0-8153-3639-X}} "From Tejano To Tango - Essays on Latin American Popular Music - Époco de oro - Juan Arvizu helps popularize Agustín Lara, see page 157 on google.books.com</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Biography&pg=PT73 ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 56-57 {{ISBN|978-0-19-989245-7}} Juan Arvizu and Ortiz Tirado help to promote the work of Agustin Lara on books.google.com</ref> They included such works as: ''Aventura'', ''Concha Nacar'', ''Cuando Vuelvas'', ''Enamorada'', ''[[Granada (song)|Granada]]'', ''Santa'' and ''Tus Pupilas''.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ Juan Arvizu Biography on vintagemnsuc.fm]</ref><ref name="youtube.com">[https://www.youtube.com/watch?v=XZZ8QmP_rzc ''Juan Arvizu - Granada'' Juan Arvizu performs with Orchestra on youtube]</ref><ref>[http://adp.library.ucsb.edu/index.php/resources/detail/163 Juan Arvizu and Orchestra Discography including "Granada" on "Discography of American Historical Recordings" - University of California at Santa Barbara - Library - Juan Arvizu Discography on adp.library.ucsb.edu]</ref>

Juan Arvizu achieved international recognition in the 1930s. By 1935, the singer made his first international tour and arrived in Buenos Aires for the launching of the LR1 Radio El Mundo.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie'' on vintagemusic.fm]</ref> While his stay in Buenos Aires was scheduled for only two months, it lasted for over a year and a half.<ref name="todotango.com">[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Todo Tango - Juan Arvizu'' Biography of Juan Arvizu by Nestor Pinson on todotango.com]{{in lang|es}}</ref> It was a triumphant season for Juan Arvizu. This feat would be repeated years later when he finished his contract in New York with RCA Victor. He stayed in Argentina for 18 years and launched many concert tours abroad from this venue.<ref name="todotango.com"/>

The zenith of Juan Arvizu's career emerged in 1944. In Argentina alone, the singer earned $60,000. Audiences flocked to the stages and concert venues where Juan Arvizu appeared.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu Biographie'' on vintagemusic.fm]</ref> He lived for several years in Chile while performing boleros<ref>[https://books.google.com/books?id=GB03DwAAQBAJ&dq=Juan+Arvizu&pg=PT656 ''The Garland Encyclopedia of Music: South America, Mexico, Central America and the Caribbean'']. Editors Dale A. Danield E. Sheehy Olsen Garland Publishing Co. 1998 p. 372 {{ ISBN|0-8240-6040-7}} on books.google.com</ref> as well as in Colombia.

Upon returning to his native Mexico, however, Juan failed to receive the recognition which he had expected. With the passage of time, a new generation had emerged with different musical preferences. Juan had been pushed into the background. After a long tour in his native town of Queretáro, Mexico in 1967, he embarked upon a period of rest since his life had been characterized by continuous movement.<ref>[http://www.todotango.com/english/artists/biography/1585/Juan-Arvizu/ Juan Arvizu Biography on todotango.com]</ref>

===Recordings===
{{ external media |width=180px|image1=Photograph of Juan Arvizu on [[CBS Radio]] with [[Alfredo Antonini]] and the CBS Pan American Orchestra in 1941 [https://www.gettyimages.co.nz/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/1132944388?adppopup=true '''Here on Getty Images''']|image2=Photograph of Juan Arvizu on CBS Radio in 1941 [https://www.gettyimages.com/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/1132944383?adppopup=true '''Here on Getty Images''']|image3=Photograph of Juan Arvizu on CBS Radio in 1941 [https://www.gettyimages.com/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/613169546?adppopup=true '''here on Getty images''']}}

Juan Arvizu was one of the most recorded singers in the history of Latin music.<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu - Biographie'' on todotango.com]{{in lang|es}}</ref> As a prolific performer, he recorded for several leading labels including: [[RCA Victor]], [[Columbia Records]] and [[Tico Records]]. He often premiered compositions by several prominent Latin composers including: Mario Clavell from Argentina, [[Rafael Hernández Marín]] from Puerto Rico, Donato Roman Heitman from Chile, Enrique Fábrega from Panama, [[Carlos Vieco]], Augusto Duque from Colombia, and [[Agustín Lara]], Gonzalo Curiel and [[Gabriel Ruiz (songwriter)|Gabriel Ruiz Galindo]] from Mexico.<ref>[https://adp.library.ucsb.edu/index.php/talent/detail/889/Arvizu_Juan_vocalist_tenor_vocal ''DAHR Discography if American Historical Recordings - Juan Arvizu'' on University of California at Santa Barbara at adp.library.ucsb.edu]</ref>

Arvizu also performed in duo with other noted musicians. His recordings with Margarita Cueto include several famous songs such as: ''Taboga'', ''Más Vale Tarde Que Nunca,'' ''Bajo el Palmar,'' ''Deseparacíon,'' among many others. With Juan Pulido he recorded ''El Último Beso'' and with [[Alfonso Ortiz Tirado]], ''Negra Linda''. Arvizu was also accompanied by several renowned orchestras of his time including: Marimba Panamerica, the Chucho Zarzosa Orchestra, the Vieri Fidanzani Orchestra, the [[Francisco Lomuto]] Orchestra, the E. Vigil and Robles Orchestra, the Orchestra of Juan S. Garrido, the CBS Pan American Orchestra,<ref name="PictoralHistory" /><ref>Media Sound & Culture in Latin America. Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 books.google.com See pg. 49]</ref><ref>''The New York Times'' May 5, 1941 p. 32</ref> and many others.<ref>Hernán Restrepo-Duque: «Notas. A tropical night: Juan Arvizu. RCA Victor. Medellín: Sonolux.</ref>

Juan Arvizu is credited with several single recordings of [[boleros]], [[air (music)|aires]], [[wikt:tangos|tangos]], [[waltzes]] and [[milonga (music)|milongas]]. It has been estimated that during the course of his career he recorded over 2,000 discs. Among some of the most popular titles are his interpretations of: ''Arrepentimiento'' ''Cada Vez Que Me Recuerdes'', ''Corrientes y Esmeralda'', ''Qué Fácil Es Decir'', ''La Cumparsita'', ''Lágrimas de Sangre'', ''Madreselva Caminito'', ''Mi Buenos Aires Querido'', ''Mi Único Amor'', ''Nido Gaucho'', '' No Cantes Ese Tango'', ''Nuestra Casita'', ''Pecado'', ''Plegaria'', ''Prohibido'', '' Salud Dinero y Amor'', '' Señior Juez'', ''Si Dejaras de Quererme'', ''Sinceramente'', ''Tengo Mil Novias'', ''Verdemar'', ''Una Cación''.<ref name="todotango.com"/>

====''Serpentina Doble''====
Among the many songs showcased by Arvizu is the composition ''Serpentina Doble'' by Juan Rezzano. The song tells the tale of a boy who was selling colored strips of paper and subsequently suffers a fatal accident caused by a vehicle which is driven by a [[pierrot]] at a carnival. The boy passes away in a hospital just as the carnival also comes to an end. The composer of the song is said to have heard his father singing the beautiful melody at home when he was very young.<ref>[http://www.mp3s-musica.com/descargar/juan-arvizu-80-anios ''Juan Arvizu 80 anos MP3 - Serpentina Doble'' as sung by Juan Arvizu on mp3s-musica.com] {{Webarchive|url=https://web.archive.org/web/20180501160827/http://www.mp3s-musica.com/descargar/juan-arvizu-80-anios |date=2018-05-01 }}{{in lang|es}}</ref><ref>[http://www.hermanotango.com.ar/Letras%20281007/SERPENTINA%20DOBLE.htm ''Serpentina Doble'' by Juan Rezzano on hermanotango.com]{{in lang|es}}</ref>

===Cinema===
The "Seventh Art" also benefited from the presence of Juan Arvizu. He participated in several films including ''Santa'' and ''Reír llorando'', which were produced in Mexico. In Cuba, Arvizu starred in the most important film of his career ''Ahora Seremos Felices'' with the charismatic Puerto Rican artist [[Mapy Cortés]].<ref>[https://www.imdb.com/title/tt2191607/?ref_=nmbio_mbio ''Ahora Seremos Felices'' Film featuring Juan Arvizu in 1938 on IMDB.com]</ref> By 1939, Arvizu had already reached the zenith of his fame. Even though the plot of the film was simple, it generated fabulous revenues. Arvizu sang several boleros by the composer [[Rafael Hernández Marín|Rafael Hernández]] including: ''Quiero Decirte'', ''Las Palomitas'', ''Purísima'' and ''Ahora Seremos Felices''. In 1940 he also sang in the film ''Infidelidad'' in collaboration with the actor Jorge Vélez.<ref>[https://www.imdb.com/title/tt0177863/fullcredits?ref_=tt_cl_sm#cast ''Infidelidad (1940)'' - Film featuring Juan Arvizu and Jorge Vélez on IMDB.org]</ref><ref>[https://www.imdb.com/name/nm0038139/bio?ref_=nm_ov_bio_sm ''Juan Arvizu Biography'' on IMDB.org]</ref> In the 1950s he performed in several biographical films about the composer María Grever including: ''Cuando Me Vaya'' (1954)
which earned two [[Ariel Awards]] and ''O Grande Amor De María Grever 1954 Leg'' (1954).<ref>[https://www.imdb.com/title/tt0045662/?ref_=ttfc_fc_tt ''Cuando Me Vaya'' Film featuring performance by Juan Arvizu on imdb.org]</ref><ref>[https://www.imdb.com/title/tt0045662/awards?ref_=tt_awd ''Cuando Me Vaya'' Ariel Awards (1955) on imdb.com]</ref><ref name="Juan Arvizu on imdb.com">[https://www.imdb.com/name/nm0038139/?ref_=fn_al_nm_1 Juan Arvizu on imdb.com]</ref><ref>[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Grande Amor De María Grever 1954 Leg'' Film featuring performance by Juan Arvizu on Archive.org]</ref>

=== Performance style ===
During the course of his long career recording music for the Victor label, Arvizu's performances were reviewed by critics in such leading magazines as ''The Billboard''. He was consistently praised for a passionate delivery as well as a dramatic style of chanting.<ref>[https://books.google.com/books?id=AhcEAAAAMBAJ&dq=Juan+Arvizu&pg=PT88 ''The Billboard - Artist's Tunes Labvel and No. - Latin American Juan Arvizu (Victor 23-107)'' Record review of Juan Arvizu in performance on "The Billboard" January 1, 1949 p. 89 on boobks.google.com]</ref><ref>[https://books.google.com/books?id=8BYEAAAAMBAJ&dq=Juan+Arvizu&pg=PT49 ''The Billboard - Artists TUnes LAbels And No. - Latin American - Juan Arvizu - George Adreann Ork'' Critical review of Juan Arvizu performing in "The Billboard" magazine January 15, 1949 p. 109 on books.google.com]</ref> He was also applauded for his full bodied chanting and the full tonal quality of his voice.<ref>[https://books.google.com/books?id=AB4EAAAAMBAJ&dq=Juan+Arvizu&pg=PA106 ''The Billboard - Artist Tunes Labels and No. - Latin-American - Juan Arvizu - Vieri Fidanzini Ork (Victor 23=0993)'' Critical review of Juan Arvizu performing in "The Billboard" magazine October 30, 1948 p. 106]</ref>

=== Death ===
Juan Arvizu died in Mexico City November 19, 1985. His musical legacy includes a compendium of single recordings for [[RCA Victor]], [[Columbia Records]] and [[Tico Records]] some of which were produced in both North and South America. They embody an extensive repertoire which includes the music of his fellow Mexican artists [[Agustín Lara]] and [[María Grever]].<ref name="adp.library.ucsb.edu">[http://adp.library.ucsb.edu/index.php/resources/detail/163 ''Discography of American Historical Recordings - Juan Arvizu'' Discography of Juan Arvizu - University of California Santa Barabara at adp.library.ucsb.edu]</ref><ref name="todotango.com"/> He is recognized as one of the leading Mexican tenors of his era who championed the compositions of Agustín Lara.<ref>[https://www.thefreelibrary.com/Mexican+musicians+in+California+and+the+United+States%2C+1910-50.-a0155283831 ''Mexican Tenors in California and the United States 1910-50'' - "TWO MEXICAN TENORS" - Juan Arvizu (1900-1985) identified as a leading Mexican tenor of his era on thefreelibrary.com]</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Maria+Grever&pg=PT149 ''Agustín Lara - A Cultural Cultural Biography'' Andrew Grant Wood Oxford University Press - Juan Arvizu and Maria Grever on google.books.com]</ref><ref>[https://books.google.com/books?id=RmRdAAAAMAAJ&q=Juan+Arvizu ''Golpe al Corazón: Tangos y Boleros'' Carlos Joaquín Ossa Planeta, 1997, p. 32 Juan Arvizu described as noted and vibrant singer who first championed the work of Agustin Lara-- on google.books.com]</ref><ref>[https://books.google.com/books?id=pQgEAAAAMBAJ&dq=Juan+Arvizu+Agustin+Lara&pg=PA39 ''The Billboard - A Mexican TV Series Will Honor 150 Radio Artists'' March 30, 1968 p. 39 Juan Arvizu featured in "The Golden Epoch of Radio" on XEW_TV on google.books.com]</ref>

==Discography==
Also included among Juan Arvizu's single recordings are:<ref name="adp.library.ucsb.edu"/>

* ''A La Misma Hora'' - Tico (#10-055 B) - Juan Arvizu with organist Salvador Muñoz perform this song by Ferradas Compos (19??)<ref>[https://archive.org/details/78_a-la-misma-hora_juan-arvizu-salvador-munoz-ferradas-compos-jose-tinelli_gbia0021428b ''A La Misma Hora'' Single record Juan Arvizu performs with organist Salvador Muñoz on Archive.org]</ref>
* ''Chamaca Mia'' - Victor (#46108-B) - Juan Arvizu with orchestra performs this song by María Grever (1929)<ref>[https://archive.org/details/78_chamaca-mia-sweet-girl-of-mine_juan-arvizu-maria-grever-e-vigil-y-robles_gbia0021641b ''Chamaca Mia'' Single record performed by Juan Arvizu with orchestra on Archive.org]</ref>
* ''Daño'' - RCA Victor (#23-6818) - Juan Arvizu and the Orquesta Chucho Zarzosa performm this bolero by Carlos Arturo Briz (19??)<ref>[https://archive.org/details/78_dano-harm_juan-arvizu-orquesta-chucho-zarzosa-carlos-arturo-briz_gbia0021420b ''Daño'' Single record performed by Juan Arvizu and Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''De Donde?'' - Columbia (#36666) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by María Grever (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/08+-+De+Donde%3F+-+Juan+Arvizu+and+the+C.+B.+S+Tipica+Orchestra.flac ''De Donbde?'' Single record performed by Juan Arvizu with CBS Tipica Orchestra conducted by Alfredo Antonini on Archinve.org]</ref>
* ''El Ay, Ay, Ay'' - RCA Victor (#23-5260-b) - Juan Arvizu and Mario Clavell with Orquesta Federico Ojeda perform a rabanal by Juan S. Garrido (19??)<ref>[https://archive.org/details/78_el-ay-ay-ay_juan-avizu-y-mario-clavell-orquesta-federico-ojeda-rabanal-juan-s-ga_gbia0021424b '' El Ay, Ay, Ay'' Single record Juan Arvizu and Mario Clavell with Orquesta Federico Ojeda on Archive.org]</ref>
* ''El Bigote de Tomas'' - Columbia (#36666) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by Valie (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/07+-+El+Bigote+de+Tomas+-+Juan+Arvizu+and+the+C.+B.+S+Tipica+Orchestra.flac ''El Bigot de Tomas'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''El Tulipan'' RCA Victor (23-6318) - Juan Arvizu and La Orquestra Chucho Zarzosa perform this polca by Clara Solovera (19??)<ref>[https://archive.org/details/78_el-tulipan-the-tulip_juan-arvizu-orquesta-chucho-zarzosa-clara-solovera_gbia0021422a ''El Tulipan'' Single record performed by Juan Arvizu and La Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''Ella'' - Tico (#10-056-B) - Juan Arvizu and the Orquesta Simon Alvarez perform this bolero by J. A. Jimenaz (19??)<ref>[https://archive.org/details/78_ella_juan-arvizu-simon-alvarez-j-a-jimenez_gbia0021639b ''Ella'' Single record performed by Juan Arvizu and Orquesta Simon Alvarez on Archive.org]</ref>
* ''Enamorada'' - Barcelona Compaňia del Gramófono Odeón (AQ 73065) - Juan Arvizu with Orchestra perform this bolero by Agustín Lara (1946)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Enamorada'' Single record performed by Juan Arvizu and Orchestra archived at the Biblioteca Digital Hispánica - Biblioteca Nacional de España on bdh.bne.es]{{in lang|es}}</ref>
* ''[[Granada (song)|Granado]]'' - Victor (30705) - Juan Arvizu with Orchestra sings this bolero by Agustín Lara (1932)<ref name="youtube.com"/><ref>[http://adp.library.ucsb.edu/index.php/resources/detail/163 ''Granada'' - Juan Arvizu and Orchestra performing on Victor Records (#30705) on "Discography of American Historical Recordings" - University of California at Santa Barbara - Library - Juan Arvizu and Granada on adp.library.ucsb.edu]</ref>
* ''Juan Arvizu - Trubador of the Americas''- Columbia (#36663) - Juan Arvizu with the CBS Tipica Orchestra conducted by [[Alfredo Antonini]] (1941)<ref>[https://archive.org/details/78_duerme-time-was_juan-arvizu-and-the-c-b-s-tipica-orchestra-bermejo-alfredo-ant_gbia0021701/02+-+Duerme+(Time+Was)+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Juan Arvizu - Trubador of the Americas'' Single record - Juan Arvizu performing with Alfredo Antonini's CBS Tipica Orchestra on Archive.org]</ref> List of musical selections: ''Rancho Alegre''- Felipe Bermejo Araujo, ''Duerme'' - Prado
* ''La Bamba'' - RCA Victor (#68-0612-A) - Juan Arvizu with orchestra performs this song by Luis Martinez Serrano (19??)<ref>[https://archive.org/details/78_la-bamba_juan-arvizu-luis-martinez-serrano_gbia0038485a ''La Bamba'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
*''Lejos'' - Victor (#32550-B) - Juan Arvizu and the Alfredo Cibelli Orchestra perform this canción creolla by M. Theresa Lara (1934)<ref>[https://archive.org/details/78_lejos_juan-arvizu-alfredo-cibelli-m-teresa-lara_gbia0038631b ''Lejos'' Single record performed by Juan Arvizu and the Alfredo Cibelli Orchestra on archive.org]</ref>
* ''Llevame'' - Tico (#10-056-A) - Juan Arvizu and the Orquesta Simon Alvarez perform this bolero by Juan Clauso (19??)<ref>[https://archive.org/details/78_llevame_juan-arvizu-simon-alvarez-juan-clauso-tito-ribero_gbia0021639a ''Llevame'' Single record performed by Juan Arvizu and the Simon Alvarez Orchestra on Archive.org]</ref>
* ''Me lo Cantaron Ayer'' - RCA Victor (#23-5260-A) - Juan Arvizu and La Orquesta de Federico Ojeda perform this bolero mambo by Alcas/Daglio (19??)<ref>[https://archive.org/details/78_me-lo-contaron-ayer_juan-arvizu-orq-de-federico-ojeda-alcas-daglio_gbia0021424a ''Me lo Cantaro Ayer'' Single record performed by Junan Arvizu and La Orquesta de Federico Ojeda on Archive.org]</ref>
* ''Mi Carta'' - RCA Victor (#68-0612-B) - Juan Arvizu and orchestra perform this song by Mario Clavelli (19??)<ref>[https://archive.org/details/78_mi-carta_juan-arvizu-mario-clavelli_gbia0038485b ''Mi Carta'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
* ''Mi Sarape'' - Colombia (#36665) - Juan Arvizu and the CBS Tipica Orchestra conductor Alfredo Antonini perform this song by María Grever (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/05+-+Mi+Sarape+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Mi Sarape'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Nada, Nada'' - RCA Victor (#23-1233-A)- Juan Arvizu and the Orquesta de la Radio Caracas perform this guaracha by Jose Reyna (19??)<ref>[https://archive.org/details/78_nada-nada_juan-arvizu-orquesta-de-la-radio-caracas-jose-reyna_gbia0021427a ''Nada, Nada'' Single record performed by Juan Arvizu and the Orquesta de la Radio Caracas on Archive.org]</ref>
* ''No Hagas Llorar A Esa Mujer'' - RCA Victor (#23-6818) - Juan Arvizu and the Orquesta Chucho Zarzosa perform this bolero by Joaquin Pardarve (19??)<ref>[https://archive.org/details/78_no-hagas-llora-a-esa-mujer-dont-make-her-cry_juan-arvizu-orquesta-chucho-zarzosa_gbia0021420a ''No Hagas Llorar A Esa Mujer'' - Single record performed by Juan Arvizu and Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''No Mereces Nada'' - RCA Victor (#23-7149) - Juan Arvizu and La Orquesta Rafael de Paz perform this song by Manuel Alvarez Maciste (19??)<ref>[https://archive.org/details/78_no-mereces-nada-you-dont-deserve-anything_juan-arvizu-orq-rafael-de-paz-manuel_gbia0021423b ''No Merceces Nada'' Single record performed by Juan Arvizu and La Orquesta Rafael de Paz on Archive.org]</ref>
* ''Noche de Amor'' - Columbia (#36664) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini music by Tchaikovsky (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/04+-+Noche+de+Amor+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Noche de Amor'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfr3edo Antonini on archive.org]</ref>
* ''[[Perfidia]]'' - Victor (#82690-A) - Juan Arvizu with Marimba Pan-Americana and accordion perform this Foxtrot by Alberto Dominguez (19??)<ref>[https://archive.org/details/78_perfidia_marimba-pan-americana-juan-arvizu-alberto-dominguez_gbia0021642a ''Perfidia'' Single record performed by Juan Arvizu with Marimba Pan-Americana and accordion on Archive.org]</ref>
* ''Pobre Corazon'' - RCA Victor (#23-6936) - Juan Arvizu with piano, guitar and accordion perform this Valse Pasillo by Manilo/Oliviero (19??)<ref>[https://archive.org/details/78_pobre-corazon-mio-my-poor-heart_juan-arvizu-manlio-y-oliviero_gbia0021419b ''Pobre Corazon'' Single record performed by Juan Arvizu with accordion, guitar and piano on arechive.org]</ref>
* ''Poquito a Poco'' - Tico (#10-055A) - Juan Arvizu and the Simon Alvarez Orchestra perform this song by Don Fabian (19??)<ref>[https://archive.org/details/78_poquito-a-poco_juan-arvizu-simon-alvarez-don-fabian_gbia0021428a ''Pobre Corazon'' Single record performed by Juan Arvizu with the Simon Alvarez Orchestra on Archive.org]</ref>
* '' Que Paso?'' - Columbia (#36665) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Anonini perform this song by Cortazar (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/06+-+Que+Paso%3F+-+Juan+Arvicu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Que Paso?'' Single record performed by Juan Arvizu and CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Senior del Milagro'' - RCA Victor (#23-6936) - Juan Arvizu performs this bolero by Cancho Manisella Casto with piano, guitar and accordion (19??)<ref>[https://archive.org/details/78_senor-del-milagro-miracle-man_juan-arvizu-cacho-manisella-castro_gbia0021419a ''Senior Del Milagro'' Single record performed by Juan Arvizu on archive.org]</ref>
* ''Señora Tentación'' - Barcelona Compaňia del Gramófono Odeón (AQ 73067) - Juan Arvizu with Orchestra perform this bolero by Agustín Lara (1946)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Seňora Tentación'' Single record performed by Juan Arvizu and Orchestra archived at the Biblioteca Digital Hispánica - Biblioteca Nacional de España on bdh.bne.es]{{in lang|es}}</ref>
* ''Tu, Tu, y Tu'' - Victor (#46108-A) - Juan Arvizu performs this song by María Grever (1929)<ref>[https://archive.org/details/78_tu-tu-y-tu-you-only-you_juan-arvizu-maria-grever_gbia0021641a ''Tu, Tu, y Tu'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
* ''Ven '' - Victor (#32250-A) - Juan Arvizu perform this fox trot bolero by Gonzolo Curiel with the Alfredo Cibelli Orchestra (1934)<ref>[https://archive.org/details/78_ven_juan-arvizu-alfredo-cibelli-gonzalo-curiel_gbia0038631a ''Ven'' Single record performed by Juan Arvizu and the Alfredo Cibelli Orchestra on Archive. org]</ref>
* ''Viva Sevilla!'' - Columbia (#36664) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by Lavidada/Delmoral (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 ''Viva Sevilla!'' Single record performed by Juna Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Volvi'' - Tico (#10-059 B) - Juan Arvizu with piano and orchestra perform this song by E. Grenet (19??)<ref>[https://archive.org/details/78_volvi_juan-arvizu-salvador-munoz-e-grenet_gbia0021425b '' Volvi'' Single record performed by Juan Arvizu with piano and orchestra on Archive.org]</ref>
* ''Voy Gritando por la Calle'' RCA Victor (#23-7149) Juan Arvizu and La Orqesta Rafael de Paz perform this bolero by Fernando Z. Maldanado (19??)<ref>[https://archive.org/details/78_voy-gritando-por-la-calle-im-sad_juan-arvizu-orq-rafael-de-paz-fernando-z-mald_gbia0021423a ''Voy Gritando por la Calle'' Single record performed by Juan Arvizu and La Orquesta Rafael de Paz on Archive.org]</ref>

{{ external media |audio1 = You may listen to Juan Arvizu performing Alberto Dominguez's bolero ''[[Perfidia]]'' with the Lorenzo Barcelata Orchestra [https://archive.org/details/78_perfidia_juan-arvizu-gonzalo-curiel_gbia0036033/02+-+Perfidia+-+Juan+Arvizu+-+Alberto+Dominguez.flac '''here''']}}

* ''Ya lo Ves'' - RCA Victor (#23-1233-B) - Juan Arvizu and the Orquesta de la Radio Caracas perform this bollero with Trio Mastra (19??)<ref>[https://archive.org/details/78_ya-lo-ves_juan-arvizu-orquesta-de-la-radio-caracas-trio-mastra_gbia0021427b ''Ya no Ves'' Single record performed by Juan Arvizu and Trio Mastra on Archive.org]</ref>
* ''Yo'' - Tico (#10-059 A) - Juan Arvizu and the organist Salvador Muñoz perform this song by J. A. Jimenez (19??)<ref>[https://archive.org/details/78_yo_juan-arvizu-salvador-munoz-j-a-jimenez_gbia0021425a ''Yo'' Single record performed by Juan Arvizu and organist Salvador Muñoz on Archive.org]</ref>

==Filmography==
* ''O Grande Amor De María Grever 1954 Leg'' - Juan Arvizu as himself singing (1954)<ref>[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Grande Amor De María Grever 1954 Leg'' Biographical film of María Grever featuring Juan Arvizu in performance on Archive.org]</ref>
* ''[[When I Leave|Cuando Me Vaya]]'' - Juan Afrvizu as himself singing (1954)<ref>[https://www.imdb.com/title/tt0045662/?ref_=nm_flmg_act_1 ''Cuando Me Vaya'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>
* ''Infidelidad'' - Juan Arvizu as himself singing (1940)<ref>[https://www.imdb.com/title/tt0177863/fullcredits?ref_=tt_cl_sm#cast ''Infidelidad'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>
* ''Ahora Seremos Felices'' - Juan Arvizu as a singer (1938)<ref>[https://www.imdb.com/title/tt2191607/?ref_=ttfc_fc_tt ''Ahora Seremos Felices'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>

== See also ==
{{Portal bar|Biography|Music|Latin music|Classical music|Opera|Mexico}}

== References ==
{{reflist}}

==External links==
* [https://archive.org/search.php?query=Juan%20Arvizu Recordings of Juan Arvizu in performance on Archive.org]
* [http://frontera.library.ucla.edu/artists/juan-arviz%C3%BA Recordings of Juan Arvizu in performance - Strachwitz Frontera Collection of Mexican and Mexican American Recordings at the University of California Los Angeles on library.ucla.edu]
*[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 ''Viva Sevilla!'';''Noche de Amor'';''Mi Sarape'';''Que Paso?'';''El Bigote de Tomas'';''De Donde'' Recordings of Juan Arvizu performing with CBS Tipica Orchestra conducted by Alfredo Antonini with acordionist John Serry Sr. on Archive.org]
* [http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Enamorada'' and ''Señora tentación'' by Agustín Lara performed by Juan Arvizu and orchestra on Biblioteca Digital Hispánica - Biblioteca Nacional De Esapaña at bdh.bne.ed {{in lang|es}}]
* [http://www.todotango.com/musica/tema/2939/Plegaria/ ''Plegaria'' Recording of Juan Arvizu with orchestra singing this tango by Eduardo Bianco on todotango.com {{in lang|es}}]
* {{IMDb name}}
* [https://adp.library.ucsb.edu/names/100191 Juan Arvizu recordings] at the [[Discography of American Historical Recordings]].
{{authority control}}

{{DEFAULTSORT:Arvizu, Juan}}
[[Category:Mexican tenors]]
[[Category:Victor Records artists]]
[[Category:Columbia Records artists]]
[[Category:1900 births]]
[[Category:1985 deaths]]
[[Category:Tico Records artists]]
[[Category:People from Querétaro City]]
[[Category:20th-century Mexican male singers]]

Juan Arvizu

2024-10-03T23:22:54Z

160.72.80.178: /* Biography */ ''Removed dead External Media link''~~~~NHPL

{{Short description|Mexican singer (1900–1985)}}
{{Infobox musical artist
| name = Juan Arvizu
| image = Juan Arvizu.jpg
| image size =
| alt =
| caption = Arvizu in 1944
| birth_name = Juan Nepomuceno Arvizu Santelices
| alias = Juan Arvizu
| birth_date = {{birth_date|1900|5|22}}
| birth_place = [[Santiago de Querétaro]], Mexico
| origin =
| death_date = {{death date and age|1985|11|19|1900|5|22}}
| death_place = [[Mexico City]], Mexico
| genre = [[Opera]], [[Bolero]], [[Vocalist]]
| occupation = [[Lyric tenor]]
| instrument =
| years_active = 1924–1967
| associated_acts = [[New York Philharmonic]], [[CBS]] Pan American Orchestra, Consuelo Escobar de Castro Opera, Orquesta de la Radio Caracas, [[Agustín Lara]], [[Nestor Mesta Chayres]], [[John Serry Sr.]], [[Voice of America]], [[Viva América]]
}}
'''Juan Nepomuceno Arvizu Santelices''' (known as '''Juan Arvizu'''; May 22, 1900 – November 19, 1985), was an acclaimed lyric [[tenor]] in [[Mexico]] and a noted interpreter of the Latin American [[bolero]] and [[tango]] on the international concert stage, on the radio and in film. He was widely noted for his interpretations of the works of [[Agustin Lara]] and [[María Grever]] and was nicknamed "The Tenor With the Silken Voice".

==Biography==
===Early years===
Juan Nepomuceno Arvizu Santelices was born in [[Querétaro]], Mexico, to Pedro Arvizu and Trinidad Santelices. As a child, he assisted his father as a radio-telegraph operator. His mother encouraged him to study vocalization, [[solfège]] and harmony while he sang in a children's choir. By the age of 22 he was accepted into the [[Conservatorio Nacional de Música (Mexico)]] in [[Mexico City]], where he continued his studies.<ref>[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu - Biography on books.google.com</ref> His artistic abilities attracted the attention of several music teachers including José Pierson, who had instructed such noted vocalists as [[Jorge Negrete]], [[José Mojica]], [[Alfonso Ortiz Tirado]], [[Pedro Vargas]] and Juan Pulido. Arvizu first appeared with Pierson's opera company while performing on stage with the noted soprano [[Ángeles Ottein]] and [[Consuelo Escobar de Castro|Consuelo Escobar]].<ref>Hernán Restrepo-Duque: «Notas. Prohibited in the Voice of Juan Arvizu. RCA Victor. Medellín: Sonolux.</ref>

At the age of 24, Arvizu made his debut at the Teatro Esperanza Iris with a role in ''La sonámbula'' by [[Vincenzo Bellini]].<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu Biography'' - Juan Arvizu debut at Teatro Esperanza Iris on todotango.com]</ref> As a member of the Consuelo Escobar de Castor Opera Company he continued in this role and traveled abroad. He visited New York City during this time and continued to augment his operatic repertoire to include the [[Argentine tango]] and the works of [[María Grever]] and Alfonso Esparza Oteo. By 1927, Arvizu returned to Mexico and appeared in another operatic production at the Teatro Esperanza Iris of [[Giacomo Meyerbeer]]'s work ''[[Dinorah]]''.<ref name="books.google.com">[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu on books.google.com</ref>

While Arvizu's natural vocal qualities and the power of his operatic voice attracted the attention of the public, he faced financial obstacles in his professional endeavors at this time. With this in mind he increased his repertoire to include the popular tango and initiated appearances in cafes and cinemas.<ref name="books.google.com"/> Pepe Cantillo, who directed one of the most famous music revues in Mexico soon engaged Arvizu.<ref>Hernán Restrepo-Duque: Notas. The songs of “Ahora seremos felices” and other hits of those days. RCA Victor. Medellín: Sonolux.</ref><ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - Vintagemusic.fm'' Juan Arvizu performs in music revue of Pepe Cantillo on vintagemusic.fm]</ref> His performances in the opera house also attracted the attention of leading figures in the phonographic industry. At this time the popular music field welcomed such noted operatic artists as Margarita Cueto, [[Pedro Vargas]], Juan Pulido, Carlos Mejía, [[Carlos Almenar Otero]], [[Alfredo Sadel]] and [[Tito Schipa]] among others. Juan Arvizu was no exception, entrusting his voice to the Brunswick record label in 1928. His first recording of the song ''Varita de nardo'' by Joaquin Pardavé was well received among audiences. The [[RCA Victor]] record label soon included him on their staff, thereby beginning one of the most prolific careers in popular music. The composer [[Jorge del Moral]] entrusted his composition ''Por Unos Ojos'' to Arvizu, whose vocal versatility and musical qualities earned him the nickname "The Tenor With the Silken Voice".<ref>[https://books.google.com/books?id=lzmTAwAAQBAJ&q=Juan+Arvizu ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 34 {{ISBN|978-0-19-989245-7}} Juan Arvizu- "The Tenor With The Silken Voice" on books.google.com</ref><ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Todo Tango - Juan Arvizu - nicknames El Tenor de la Voice de Seda --The Tenor with the Silken Voice'' on todotango.com]</ref><ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - "The Tenor With The Silken Voice'' on www.vintagemusic.fm]</ref>

===International recognition===
Based upon these achievements, Radio [[XEW-AM|XEW]] in Mexico invited Arvizu in 1930 to inaugurate its first broadcast in 1930.<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu - Biography in Todo Tango'' - Juan Arvizu inaugurates Radio XEW on tototango.com]</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Biography&pg=PT73 ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 56-57 {{ISBN|978-0-19-989245-7}} Juan Arvizu and Agustin Lara collaborate on the launch of radio XEW on books.google.com</ref> This would not be the only time that the "Tenor With the Silken Voice" would receive such recognition. In fact, Arvizu had the honor of initiating broadcasts on several other international radio stations. For example, in 1935, he inaugurated a show on LR1 - Radio El Mundo in Buenos Aires, Argentina.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biography - Vintagemusic.fm'' Juan Arvizu inaugurates Radio LR1 in vintagemusic.fm]</ref> Years later in 1942 he premiered with the Cadena de Las Amėricas of the [[Columbia Broadcasting System]] (CBS) and [[Voice of America]] on the ''[[Viva América]]'' show in New York, in collaboration with the orchestra conductor [[Alfredo Antonini]], the Puerto Rican vocalist [[Elsa Miranda]], the Argentine composer [[Terig Tucci]], the Mexican American vocalist [[Eva Garza]] and the concert accordionist [[John Serry Sr.]]<ref>'The New York Times", May 5, 1941, Pg. 32</ref><ref name="PictoralHistory">{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (Juan Arvizu photographed with the CBS Pan American Orchestra in New York)</ref><ref>Media Sound & Culture in Latin America & The Caribbean. Editores: Bronfman, Alejandra & Wood, Andrew Grant.University of Pittsburgh Press, Pittsburgh, PA, USA, 2012 Pg. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Books.google.com Vea la pág. 49]</ref><ref>[https://books.google.com/books?id=aPAvAAAAYAAJ&q=Juan+Arvizu ''The Pan American'' - Volume 2 1941, p. 46, p. 55- "Latin American Ballad Singer Comes For Radio" Juan Arvizu on books.google.com]</ref><ref>[https://books.google.com/books?id=2E4QAAAAIAAJ&q=Juan+Arvizu ''Newsweek'' Volume 17 1941 p. 68 Juan Arvizu recruited by Edmund Chester for CBS radio on google.books.com]</ref><ref>[https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''] Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 155-157 {{ISBN|978-0-8166-7316-2}} Eva Garza and Viva America on google.books.com</ref> In 1941 he also collaborated with the [[Andre Kostelanetz]] Orchestra in live performance on the radio for WABC in New York City.<ref>[https://books.google.com/books?id=QXMrk00pi-sC&dq=Juan+Arvizu&pg=PA317 ''Andre Kostelanetz on Records and On The Air - A Discography and Radio Log''] North, James A. The Scarecrow Press Inc., Plymouth UK 2011 p. 317 {{ISBN|978-0-8108-7732-0}} on books.google.com</ref> By 1945 his performances on the CBS network were heard by audiences in twenty Latin American nations and were rebroadcast for members of America's Armed forces on the Armed Forces Radio Service.<ref>[https://books.google.com/books?id=Qx00pQIkclMC&q=ociaa&pg=PA166 ''Dissonant Divas in Chicana Music: The Limits of La Onda''] Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 152-155 {{ISBN|978-0-8166-7316-2}} OCIAA (Office of the Coordinator of Inter-American Affairs), FDR's Good Neighbor Policy, CBS, Viva America, La Cadena de las Americas on google.books.com</ref><ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&dq=Nestor+Mesta+Chayres&pg=PA33 ''The Directory of the Armed Forces Radio Service'' Mackenzie, Harry. Greenwood Press, London, 1999, p. 33 Recordings by Alfredo Antonini with Juan Arvizu and Nestor Mesta Chayres on the Directory of the Armed Forces Radio Service during 1945-1949 on Google Books]</ref>
His performances with the CBS Pan American Orchestra were also noteworthy for helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States during the 1940s.<ref>Media Sound & Culture in Latin America & The Caribbean. Editores: Bronfman, Alejandra & Wood, Andrew Grant.University of Pittsburgh Press, Pittsburgh, PA, USA, 2012 Pg. 49 [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 Juan Arvizu, CBS Pan American Orchestra & Latin American music Books.google.com]</ref> But one of his greatest achievements was to "discover" one of Mexico's leading composers, [[Agustín Lara]] in 1929.<ref>[https://books.google.com/books?id=kp6FAgAAQBAJ&dq=Juan+Arvizu+discovers+Agustin+Lara&pg=PA833 ''Encyclopedia of Contemporary Latin American and Caribbean Cultures''] Editors: Daniel Balderston, Mike Gonzalez, Ana M. López. Routledge Taylor and Francis Group, London p. 833 {{ISBN|1134788525}}, "Agustin Lara" biography - on books.google.com</ref><ref>[https://www.elsiglodetorreon.com.mx/noticia/1167578.1970-fallece-el-cantautor-mexicano-agustin-lara-el-flaco-de-oro.html ''El Sigo De Torrén - 1970: Fallece el cantautor mexicano Agustín Lara, 'El Flaco de Oro{{'}}'' Agustin Lara Obituary and Juan Arvizu on elsiglodetorreon.com]{{in lang|es}}</ref>

[[File:Agustín Lara (H. Peraza) Madrid 02.jpg|thumb|left|Agustín Lara (H. Peraza) Madrid 02]]

During the 1920s and 1930s, the [[tango]] was very popular in Mexico. Arvizu premiered many of these songs in Pepe Cantillo's music revue.<ref name="vintagemusic.fm">[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie - Vintagemusic.fm'' Juan Arvizu premiers songs in Pepe Cantillo's music revue on vintagemusic.com]</ref> While searching for an accompanist, the tenor agreed to hire an unknown bohemian pianist at the ordinary Café Salambó. That pianist was Agustín Lara.<ref>[https://books.google.com/books?id=kp6FAgAAQBAJ&dq=Juan+Arvizu+discovers+Agustin+Lara&pg=PA833 ''Encyclopedia of Contemporary Latin American and Caribbean Cultures''] Editors: Daniel Balderston, Mike Gonzalez, Ana M. López. Routledge Taylor and Francis Group, London p. 833 {{ISBN|1134788525}}, "Agustin Lara" -biography - Juan Arvizu "Discovers" Agustín Lara on books.google.com</ref><ref name="vintagemusic.fm"/> At first, Agustín Lara was a tango composer, but his compositions lacked the proper accompaniment of the tango orchestra. As a result, his works were classified within the "creole song" genre. Arvizu was the first singer to champion Lara's compositions through his performances in cinemas and on the radio.<ref>[https://books.google.com/books?id=RmRdAAAAMAAJ&q=Juan+Arvizu ''Golpe aL Corazón: Tangos y Boleros'' Carlos Joaquin Ossa, Planeta, 1997 p. 32 Juan Arvizu on books.google.com]{{in lang|es}}</ref><ref>[https://books.google.com/books?id=mzsUAQAAIAAJ&q=Juan+Arvizu+Agustin+Lara ''What Boleros Tell: The Story of 100 beautiful boleros, their composer and their best performers'' Hernán Restrepo Duque. Centro de Estudios Musicales, 1992, p. 33 Juan Arvizu - first interpreter of Lara who premiers his works on radio XEW on google.books.com]{{in lang|es}}</ref> The performances of the Lara-Arvizu duo on radio XEW were well received by the public.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu Biographie - Vintagemusic.fm'' Juan Arvizu and Agustín Alara and the tango history on vintagemusic.fm]</ref> Along with other leading vocalists of the time such as [[Pedro Vargas]] and [[Alfonso Ortiz Tirado]], Arvizu helped to popularize several of Lara's greatest compositions.<ref>[https://books.google.com/books?id=d7DHvfmzHhkC&dq=Juan+Arvizu&pg=PA157 ''From Tejano to Tango: Essays on Latin American Popular Music''] Editor: Walter Aaron Clark. Routledge, New York, 2002 p. 157 {{ISBN|0-8153-3639-X}} "From Tejano To Tango - Essays on Latin American Popular Music - Époco de oro - Juan Arvizu helps popularize Agustín Lara, see page 157 on google.books.com</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Biography&pg=PT73 ''Agustin Lara - A Cultural Biography''] Wood, Andrew Grant. Oxford University Press. New York. 2014 p. 56-57 {{ISBN|978-0-19-989245-7}} Juan Arvizu and Ortiz Tirado help to promote the work of Agustin Lara on books.google.com</ref> They included such works as: ''Aventura'', ''Concha Nacar'', ''Cuando Vuelvas'', ''Enamorada'', ''[[Granada (song)|Granada]]'', ''Santa'' and ''Tus Pupilas''.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ Juan Arvizu Biography on vintagemnsuc.fm]</ref><ref name="youtube.com">[https://www.youtube.com/watch?v=XZZ8QmP_rzc ''Juan Arvizu - Granada'' Juan Arvizu performs with Orchestra on youtube]</ref><ref>[http://adp.library.ucsb.edu/index.php/resources/detail/163 Juan Arvizu and Orchestra Discography including "Granada" on "Discography of American Historical Recordings" - University of California at Santa Barbara - Library - Juan Arvizu Discography on adp.library.ucsb.edu]</ref>

Juan Arvizu achieved international recognition in the 1930s. By 1935, the singer made his first international tour and arrived in Buenos Aires for the launching of the LR1 Radio El Mundo.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu - Biographie'' on vintagemusic.fm]</ref> While his stay in Buenos Aires was scheduled for only two months, it lasted for over a year and a half.<ref name="todotango.com">[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Todo Tango - Juan Arvizu'' Biography of Juan Arvizu by Nestor Pinson on todotango.com]{{in lang|es}}</ref> It was a triumphant season for Juan Arvizu. This feat would be repeated years later when he finished his contract in New York with RCA Victor. He stayed in Argentina for 18 years and launched many concert tours abroad from this venue.<ref name="todotango.com"/>

The zenith of Juan Arvizu's career emerged in 1944. In Argentina alone, the singer earned $60,000. Audiences flocked to the stages and concert venues where Juan Arvizu appeared.<ref>[https://www.vintagemusic.fm/artist/juan-arvizu/ ''Juan Arvizu Biographie'' on vintagemusic.fm]</ref> He lived for several years in Chile while performing boleros<ref>[https://books.google.com/books?id=GB03DwAAQBAJ&dq=Juan+Arvizu&pg=PT656 ''The Garland Encyclopedia of Music: South America, Mexico, Central America and the Caribbean'']. Editors Dale A. Danield E. Sheehy Olsen Garland Publishing Co. 1998 p. 372 {{ ISBN|0-8240-6040-7}} on books.google.com</ref> as well as in Colombia.

Upon returning to his native Mexico, however, Juan failed to receive the recognition which he had expected. With the passage of time, a new generation had emerged with different musical preferences. Juan had been pushed into the background. After a long tour in his native town of Queretáro, Mexico in 1967, he embarked upon a period of rest since his life had been characterized by continuous movement.<ref>[http://www.todotango.com/english/artists/biography/1585/Juan-Arvizu/ Juan Arvizu Biography on todotango.com]</ref>

===Recordings===
{{ external media |width=180px|image1=Photograph of Juan Arvizu on [[CBS Radio]] with [[Alfredo Antonini]] and the CBS Pan American Orchestra in 1941 [https://www.gettyimages.co.nz/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/1132944388?adppopup=true '''Here on Getty Images''']|image2=Photograph of Juan Arvizu on CBS Radio in 1941 [https://www.gettyimages.com/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/1132944383?adppopup=true '''Here on Getty Images''']|image3=Photograph of Juan Arvizu on CBS Radio in 1941 [https://www.gettyimages.com/detail/news-photo/juan-arvizu-singing-idol-of-latin-america-performs-on-cbs-news-photo/613169546?adppopup=true '''here on Getty images''']}}

Juan Arvizu was one of the most recorded singers in the history of Latin music.<ref>[http://www.todotango.com/creadores/biografia/1585/Juan-Arvizu/ ''Juan Arvizu - Biographie'' on todotango.com]{{in lang|es}}</ref> As a prolific performer, he recorded for several leading labels including: [[RCA Victor]], [[Columbia Records]] and [[Tico Records]]. He often premiered compositions by several prominent Latin composers including: Mario Clavell from Argentina, [[Rafael Hernández Marín]] from Puerto Rico, Donato Roman Heitman from Chile, Enrique Fábrega from Panama, [[Carlos Vieco]], Augusto Duque from Colombia, and [[Agustín Lara]], Gonzalo Curiel and [[Gabriel Ruiz (songwriter)|Gabriel Ruiz Galindo]] from Mexico.<ref>[https://adp.library.ucsb.edu/index.php/talent/detail/889/Arvizu_Juan_vocalist_tenor_vocal ''DAHR Discography if American Historical Recordings - Juan Arvizu'' on University of California at Santa Barbara at adp.library.ucsb.edu]</ref>

Arvizu also performed in duo with other noted musicians. His recordings with Margarita Cueto include several famous songs such as: ''Taboga'', ''Más Vale Tarde Que Nunca,'' ''Bajo el Palmar,'' ''Deseparacíon,'' among many others. With Juan Pulido he recorded ''El Último Beso'' and with [[Alfonso Ortiz Tirado]], ''Negra Linda''. Arvizu was also accompanied by several renowned orchestras of his time including: Marimba Panamerica, the Chucho Zarzosa Orchestra, the Vieri Fidanzani Orchestra, the [[Francisco Lomuto]] Orchestra, the E. Vigil and Robles Orchestra, the Orchestra of Juan S. Garrido, the CBS Pan American Orchestra,<ref name="PictoralHistory" /><ref>Media Sound & Culture in Latin America. Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 books.google.com See pg. 49]</ref><ref>''The New York Times'' May 5, 1941 p. 32</ref> and many others.<ref>Hernán Restrepo-Duque: «Notas. A tropical night: Juan Arvizu. RCA Victor. Medellín: Sonolux.</ref>

Juan Arvizu is credited with several single recordings of [[boleros]], [[air (music)|aires]], [[wikt:tangos|tangos]], [[waltzes]] and [[milonga (music)|milongas]]. It has been estimated that during the course of his career he recorded over 2,000 discs. Among some of the most popular titles are his interpretations of: ''Arrepentimiento'' ''Cada Vez Que Me Recuerdes'', ''Corrientes y Esmeralda'', ''Qué Fácil Es Decir'', ''La Cumparsita'', ''Lágrimas de Sangre'', ''Madreselva Caminito'', ''Mi Buenos Aires Querido'', ''Mi Único Amor'', ''Nido Gaucho'', '' No Cantes Ese Tango'', ''Nuestra Casita'', ''Pecado'', ''Plegaria'', ''Prohibido'', '' Salud Dinero y Amor'', '' Señior Juez'', ''Si Dejaras de Quererme'', ''Sinceramente'', ''Tengo Mil Novias'', ''Verdemar'', ''Una Cación''.<ref name="todotango.com"/>

====''Serpentina Doble''====
Among the many songs showcased by Arvizu is the composition ''Serpentina Doble'' by Juan Rezzano. The song tells the tale of a boy who was selling colored strips of paper and subsequently suffers a fatal accident caused by a vehicle which is driven by a [[pierrot]] at a carnival. The boy passes away in a hospital just as the carnival also comes to an end. The composer of the song is said to have heard his father singing the beautiful melody at home when he was very young.<ref>[http://www.mp3s-musica.com/descargar/juan-arvizu-80-anios ''Juan Arvizu 80 anos MP3 - Serpentina Doble'' as sung by Juan Arvizu on mp3s-musica.com] {{Webarchive|url=https://web.archive.org/web/20180501160827/http://www.mp3s-musica.com/descargar/juan-arvizu-80-anios |date=2018-05-01 }}{{in lang|es}}</ref><ref>[http://www.hermanotango.com.ar/Letras%20281007/SERPENTINA%20DOBLE.htm ''Serpentina Doble'' by Juan Rezzano on hermanotango.com]{{in lang|es}}</ref>

===Cinema===
The "Seventh Art" also benefited from the presence of Juan Arvizu. He participated in several films including ''Santa'' and ''Reír llorando'', which were produced in Mexico. In Cuba, Arvizu starred in the most important film of his career ''Ahora Seremos Felices'' with the charismatic Puerto Rican artist [[Mapy Cortés]].<ref>[https://www.imdb.com/title/tt2191607/?ref_=nmbio_mbio ''Ahora Seremos Felices'' Film featuring Juan Arvizu in 1938 on IMDB.com]</ref> By 1939, Arvizu had already reached the zenith of his fame. Even though the plot of the film was simple, it generated fabulous revenues. Arvizu sang several boleros by the composer [[Rafael Hernández Marín|Rafael Hernández]] including: ''Quiero Decirte'', ''Las Palomitas'', ''Purísima'' and ''Ahora Seremos Felices''. In 1940 he also sang in the film ''Infidelidad'' in collaboration with the actor Jorge Vélez.<ref>[https://www.imdb.com/title/tt0177863/fullcredits?ref_=tt_cl_sm#cast ''Infidelidad (1940)'' - Film featuring Juan Arvizu and Jorge Vélez on IMDB.org]</ref><ref>[https://www.imdb.com/name/nm0038139/bio?ref_=nm_ov_bio_sm ''Juan Arvizu Biography'' on IMDB.org]</ref> In the 1950s he performed in several biographical films about the composer María Grever including: ''Cuando Me Vaya'' (1954)
which earned two [[Ariel Awards]] and ''O Grande Amor De María Grever 1954 Leg'' (1954).<ref>[https://www.imdb.com/title/tt0045662/?ref_=ttfc_fc_tt ''Cuando Me Vaya'' Film featuring performance by Juan Arvizu on imdb.org]</ref><ref>[https://www.imdb.com/title/tt0045662/awards?ref_=tt_awd ''Cuando Me Vaya'' Ariel Awards (1955) on imdb.com]</ref><ref name="Juan Arvizu on imdb.com">[https://www.imdb.com/name/nm0038139/?ref_=fn_al_nm_1 Juan Arvizu on imdb.com]</ref><ref>[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Grande Amor De María Grever 1954 Leg'' Film featuring performance by Juan Arvizu on Archive.org]</ref>

=== Performance style ===
During the course of his long career recording music for the Victor label, Arvizu's performances were reviewed by critics in such leading magazines as ''The Billboard''. He was consistently praised for a passionate delivery as well as a dramatic style of chanting.<ref>[https://books.google.com/books?id=AhcEAAAAMBAJ&dq=Juan+Arvizu&pg=PT88 ''The Billboard - Artist's Tunes Labvel and No. - Latin American Juan Arvizu (Victor 23-107)'' Record review of Juan Arvizu in performance on "The Billboard" January 1, 1949 p. 89 on boobks.google.com]</ref><ref>[https://books.google.com/books?id=8BYEAAAAMBAJ&dq=Juan+Arvizu&pg=PT49 ''The Billboard - Artists TUnes LAbels And No. - Latin American - Juan Arvizu - George Adreann Ork'' Critical review of Juan Arvizu performing in "The Billboard" magazine January 15, 1949 p. 109 on books.google.com]</ref> He was also applauded for his full bodied chanting and the full tonal quality of his voice.<ref>[https://books.google.com/books?id=AB4EAAAAMBAJ&dq=Juan+Arvizu&pg=PA106 ''The Billboard - Artist Tunes Labels and No. - Latin-American - Juan Arvizu - Vieri Fidanzini Ork (Victor 23=0993)'' Critical review of Juan Arvizu performing in "The Billboard" magazine October 30, 1948 p. 106]</ref>

=== Death ===
Juan Arvizu died in Mexico City November 19, 1985. His musical legacy includes a compendium of single recordings for [[RCA Victor]], [[Columbia Records]] and [[Tico Records]] some of which were produced in both North and South America. They embody an extensive repertoire which includes the music of his fellow Mexican artists [[Agustín Lara]] and [[María Grever]].<ref name="adp.library.ucsb.edu">[http://adp.library.ucsb.edu/index.php/resources/detail/163 ''Discography of American Historical Recordings - Juan Arvizu'' Discography of Juan Arvizu - University of California Santa Barabara at adp.library.ucsb.edu]</ref><ref name="todotango.com"/> He is recognized as one of the leading Mexican tenors of his era who championed the compositions of Agustín Lara.<ref>[https://www.thefreelibrary.com/Mexican+musicians+in+California+and+the+United+States%2C+1910-50.-a0155283831 ''Mexican Tenors in California and the United States 1910-50'' - "TWO MEXICAN TENORS" - Juan Arvizu (1900-1985) identified as a leading Mexican tenor of his era on thefreelibrary.com]</ref><ref>[https://books.google.com/books?id=87qXAwAAQBAJ&dq=Juan+Arvizu+Maria+Grever&pg=PT149 ''Agustín Lara - A Cultural Cultural Biography'' Andrew Grant Wood Oxford University Press - Juan Arvizu and Maria Grever on google.books.com]</ref><ref>[https://books.google.com/books?id=RmRdAAAAMAAJ&q=Juan+Arvizu ''Golpe al Corazón: Tangos y Boleros'' Carlos Joaquín Ossa Planeta, 1997, p. 32 Juan Arvizu described as noted and vibrant singer who first championed the work of Agustin Lara-- on google.books.com]</ref><ref>[https://books.google.com/books?id=pQgEAAAAMBAJ&dq=Juan+Arvizu+Agustin+Lara&pg=PA39 ''The Billboard - A Mexican TV Series Will Honor 150 Radio Artists'' March 30, 1968 p. 39 Juan Arvizu featured in "The Golden Epoch of Radio" on XEW_TV on google.books.com]</ref>

==Discography==
{{ external media | |audio1 = You may listen to Juan Arvizu performing Felipe Bermejo Araujo's bolero ''Rancho Alegre'' with [[Alfredo Antonini]] and [[John Serry Sr.]] in 1941 [https://archive.org/details/78_duerme-time-was_juan-arvizu-and-the-c-b-s-tipica-orchestra-bermejo-alfredo-ant_gbia0021701/02+-+Duerme+(Time+Was)+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac '''here''']}}

Also included among Juan Arvizu's single recordings are:<ref name="adp.library.ucsb.edu"/>

* ''A La Misma Hora'' - Tico (#10-055 B) - Juan Arvizu with organist Salvador Muñoz perform this song by Ferradas Compos (19??)<ref>[https://archive.org/details/78_a-la-misma-hora_juan-arvizu-salvador-munoz-ferradas-compos-jose-tinelli_gbia0021428b ''A La Misma Hora'' Single record Juan Arvizu performs with organist Salvador Muñoz on Archive.org]</ref>
* ''Chamaca Mia'' - Victor (#46108-B) - Juan Arvizu with orchestra performs this song by María Grever (1929)<ref>[https://archive.org/details/78_chamaca-mia-sweet-girl-of-mine_juan-arvizu-maria-grever-e-vigil-y-robles_gbia0021641b ''Chamaca Mia'' Single record performed by Juan Arvizu with orchestra on Archive.org]</ref>
* ''Daño'' - RCA Victor (#23-6818) - Juan Arvizu and the Orquesta Chucho Zarzosa performm this bolero by Carlos Arturo Briz (19??)<ref>[https://archive.org/details/78_dano-harm_juan-arvizu-orquesta-chucho-zarzosa-carlos-arturo-briz_gbia0021420b ''Daño'' Single record performed by Juan Arvizu and Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''De Donde?'' - Columbia (#36666) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by María Grever (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/08+-+De+Donde%3F+-+Juan+Arvizu+and+the+C.+B.+S+Tipica+Orchestra.flac ''De Donbde?'' Single record performed by Juan Arvizu with CBS Tipica Orchestra conducted by Alfredo Antonini on Archinve.org]</ref>
* ''El Ay, Ay, Ay'' - RCA Victor (#23-5260-b) - Juan Arvizu and Mario Clavell with Orquesta Federico Ojeda perform a rabanal by Juan S. Garrido (19??)<ref>[https://archive.org/details/78_el-ay-ay-ay_juan-avizu-y-mario-clavell-orquesta-federico-ojeda-rabanal-juan-s-ga_gbia0021424b '' El Ay, Ay, Ay'' Single record Juan Arvizu and Mario Clavell with Orquesta Federico Ojeda on Archive.org]</ref>
* ''El Bigote de Tomas'' - Columbia (#36666) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by Valie (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/07+-+El+Bigote+de+Tomas+-+Juan+Arvizu+and+the+C.+B.+S+Tipica+Orchestra.flac ''El Bigot de Tomas'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''El Tulipan'' RCA Victor (23-6318) - Juan Arvizu and La Orquestra Chucho Zarzosa perform this polca by Clara Solovera (19??)<ref>[https://archive.org/details/78_el-tulipan-the-tulip_juan-arvizu-orquesta-chucho-zarzosa-clara-solovera_gbia0021422a ''El Tulipan'' Single record performed by Juan Arvizu and La Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''Ella'' - Tico (#10-056-B) - Juan Arvizu and the Orquesta Simon Alvarez perform this bolero by J. A. Jimenaz (19??)<ref>[https://archive.org/details/78_ella_juan-arvizu-simon-alvarez-j-a-jimenez_gbia0021639b ''Ella'' Single record performed by Juan Arvizu and Orquesta Simon Alvarez on Archive.org]</ref>
* ''Enamorada'' - Barcelona Compaňia del Gramófono Odeón (AQ 73065) - Juan Arvizu with Orchestra perform this bolero by Agustín Lara (1946)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Enamorada'' Single record performed by Juan Arvizu and Orchestra archived at the Biblioteca Digital Hispánica - Biblioteca Nacional de España on bdh.bne.es]{{in lang|es}}</ref>
* ''[[Granada (song)|Granado]]'' - Victor (30705) - Juan Arvizu with Orchestra sings this bolero by Agustín Lara (1932)<ref name="youtube.com"/><ref>[http://adp.library.ucsb.edu/index.php/resources/detail/163 ''Granada'' - Juan Arvizu and Orchestra performing on Victor Records (#30705) on "Discography of American Historical Recordings" - University of California at Santa Barbara - Library - Juan Arvizu and Granada on adp.library.ucsb.edu]</ref>
* ''Juan Arvizu - Trubador of the Americas''- Columbia (#36663) - Juan Arvizu with the CBS Tipica Orchestra conducted by [[Alfredo Antonini]] (1941)<ref>[https://archive.org/details/78_duerme-time-was_juan-arvizu-and-the-c-b-s-tipica-orchestra-bermejo-alfredo-ant_gbia0021701/02+-+Duerme+(Time+Was)+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Juan Arvizu - Trubador of the Americas'' Single record - Juan Arvizu performing with Alfredo Antonini's CBS Tipica Orchestra on Archive.org]</ref> List of musical selections: ''Rancho Alegre''- Felipe Bermejo Araujo, ''Duerme'' - Prado
* ''La Bamba'' - RCA Victor (#68-0612-A) - Juan Arvizu with orchestra performs this song by Luis Martinez Serrano (19??)<ref>[https://archive.org/details/78_la-bamba_juan-arvizu-luis-martinez-serrano_gbia0038485a ''La Bamba'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
*''Lejos'' - Victor (#32550-B) - Juan Arvizu and the Alfredo Cibelli Orchestra perform this canción creolla by M. Theresa Lara (1934)<ref>[https://archive.org/details/78_lejos_juan-arvizu-alfredo-cibelli-m-teresa-lara_gbia0038631b ''Lejos'' Single record performed by Juan Arvizu and the Alfredo Cibelli Orchestra on archive.org]</ref>
* ''Llevame'' - Tico (#10-056-A) - Juan Arvizu and the Orquesta Simon Alvarez perform this bolero by Juan Clauso (19??)<ref>[https://archive.org/details/78_llevame_juan-arvizu-simon-alvarez-juan-clauso-tito-ribero_gbia0021639a ''Llevame'' Single record performed by Juan Arvizu and the Simon Alvarez Orchestra on Archive.org]</ref>
* ''Me lo Cantaron Ayer'' - RCA Victor (#23-5260-A) - Juan Arvizu and La Orquesta de Federico Ojeda perform this bolero mambo by Alcas/Daglio (19??)<ref>[https://archive.org/details/78_me-lo-contaron-ayer_juan-arvizu-orq-de-federico-ojeda-alcas-daglio_gbia0021424a ''Me lo Cantaro Ayer'' Single record performed by Junan Arvizu and La Orquesta de Federico Ojeda on Archive.org]</ref>
* ''Mi Carta'' - RCA Victor (#68-0612-B) - Juan Arvizu and orchestra perform this song by Mario Clavelli (19??)<ref>[https://archive.org/details/78_mi-carta_juan-arvizu-mario-clavelli_gbia0038485b ''Mi Carta'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
* ''Mi Sarape'' - Colombia (#36665) - Juan Arvizu and the CBS Tipica Orchestra conductor Alfredo Antonini perform this song by María Grever (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/05+-+Mi+Sarape+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Mi Sarape'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Nada, Nada'' - RCA Victor (#23-1233-A)- Juan Arvizu and the Orquesta de la Radio Caracas perform this guaracha by Jose Reyna (19??)<ref>[https://archive.org/details/78_nada-nada_juan-arvizu-orquesta-de-la-radio-caracas-jose-reyna_gbia0021427a ''Nada, Nada'' Single record performed by Juan Arvizu and the Orquesta de la Radio Caracas on Archive.org]</ref>
* ''No Hagas Llorar A Esa Mujer'' - RCA Victor (#23-6818) - Juan Arvizu and the Orquesta Chucho Zarzosa perform this bolero by Joaquin Pardarve (19??)<ref>[https://archive.org/details/78_no-hagas-llora-a-esa-mujer-dont-make-her-cry_juan-arvizu-orquesta-chucho-zarzosa_gbia0021420a ''No Hagas Llorar A Esa Mujer'' - Single record performed by Juan Arvizu and Orquesta Chucho Zarzosa on Archive.org]</ref>
* ''No Mereces Nada'' - RCA Victor (#23-7149) - Juan Arvizu and La Orquesta Rafael de Paz perform this song by Manuel Alvarez Maciste (19??)<ref>[https://archive.org/details/78_no-mereces-nada-you-dont-deserve-anything_juan-arvizu-orq-rafael-de-paz-manuel_gbia0021423b ''No Merceces Nada'' Single record performed by Juan Arvizu and La Orquesta Rafael de Paz on Archive.org]</ref>
* ''Noche de Amor'' - Columbia (#36664) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini music by Tchaikovsky (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/04+-+Noche+de+Amor+-+Juan+Arvizu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Noche de Amor'' Single record performed by Juan Arvizu and the CBS Tipica Orchestra conducted by Alfr3edo Antonini on archive.org]</ref>
* ''[[Perfidia]]'' - Victor (#82690-A) - Juan Arvizu with Marimba Pan-Americana and accordion perform this Foxtrot by Alberto Dominguez (19??)<ref>[https://archive.org/details/78_perfidia_marimba-pan-americana-juan-arvizu-alberto-dominguez_gbia0021642a ''Perfidia'' Single record performed by Juan Arvizu with Marimba Pan-Americana and accordion on Archive.org]</ref>
* ''Pobre Corazon'' - RCA Victor (#23-6936) - Juan Arvizu with piano, guitar and accordion perform this Valse Pasillo by Manilo/Oliviero (19??)<ref>[https://archive.org/details/78_pobre-corazon-mio-my-poor-heart_juan-arvizu-manlio-y-oliviero_gbia0021419b ''Pobre Corazon'' Single record performed by Juan Arvizu with accordion, guitar and piano on arechive.org]</ref>
* ''Poquito a Poco'' - Tico (#10-055A) - Juan Arvizu and the Simon Alvarez Orchestra perform this song by Don Fabian (19??)<ref>[https://archive.org/details/78_poquito-a-poco_juan-arvizu-simon-alvarez-don-fabian_gbia0021428a ''Pobre Corazon'' Single record performed by Juan Arvizu with the Simon Alvarez Orchestra on Archive.org]</ref>
* '' Que Paso?'' - Columbia (#36665) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Anonini perform this song by Cortazar (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640/06+-+Que+Paso%3F+-+Juan+Arvicu+and+the+C.+B.+S.+Tipica+Orchestra.flac ''Que Paso?'' Single record performed by Juan Arvizu and CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Senior del Milagro'' - RCA Victor (#23-6936) - Juan Arvizu performs this bolero by Cancho Manisella Casto with piano, guitar and accordion (19??)<ref>[https://archive.org/details/78_senor-del-milagro-miracle-man_juan-arvizu-cacho-manisella-castro_gbia0021419a ''Senior Del Milagro'' Single record performed by Juan Arvizu on archive.org]</ref>
* ''Señora Tentación'' - Barcelona Compaňia del Gramófono Odeón (AQ 73067) - Juan Arvizu with Orchestra perform this bolero by Agustín Lara (1946)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Seňora Tentación'' Single record performed by Juan Arvizu and Orchestra archived at the Biblioteca Digital Hispánica - Biblioteca Nacional de España on bdh.bne.es]{{in lang|es}}</ref>
* ''Tu, Tu, y Tu'' - Victor (#46108-A) - Juan Arvizu performs this song by María Grever (1929)<ref>[https://archive.org/details/78_tu-tu-y-tu-you-only-you_juan-arvizu-maria-grever_gbia0021641a ''Tu, Tu, y Tu'' Single record performed by Juan Arvizu and orchestra on Archive.org]</ref>
* ''Ven '' - Victor (#32250-A) - Juan Arvizu perform this fox trot bolero by Gonzolo Curiel with the Alfredo Cibelli Orchestra (1934)<ref>[https://archive.org/details/78_ven_juan-arvizu-alfredo-cibelli-gonzalo-curiel_gbia0038631a ''Ven'' Single record performed by Juan Arvizu and the Alfredo Cibelli Orchestra on Archive. org]</ref>
* ''Viva Sevilla!'' - Columbia (#36664) - Juan Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini perform this song by Lavidada/Delmoral (194?)<ref>[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 ''Viva Sevilla!'' Single record performed by Juna Arvizu and the CBS Tipica Orchestra conducted by Alfredo Antonini on Archive.org]</ref>
* ''Volvi'' - Tico (#10-059 B) - Juan Arvizu with piano and orchestra perform this song by E. Grenet (19??)<ref>[https://archive.org/details/78_volvi_juan-arvizu-salvador-munoz-e-grenet_gbia0021425b '' Volvi'' Single record performed by Juan Arvizu with piano and orchestra on Archive.org]</ref>
* ''Voy Gritando por la Calle'' RCA Victor (#23-7149) Juan Arvizu and La Orqesta Rafael de Paz perform this bolero by Fernando Z. Maldanado (19??)<ref>[https://archive.org/details/78_voy-gritando-por-la-calle-im-sad_juan-arvizu-orq-rafael-de-paz-fernando-z-mald_gbia0021423a ''Voy Gritando por la Calle'' Single record performed by Juan Arvizu and La Orquesta Rafael de Paz on Archive.org]</ref>

{{ external media |audio1 = You may listen to Juan Arvizu performing Alberto Dominguez's bolero ''[[Perfidia]]'' with the Lorenzo Barcelata Orchestra [https://archive.org/details/78_perfidia_juan-arvizu-gonzalo-curiel_gbia0036033/02+-+Perfidia+-+Juan+Arvizu+-+Alberto+Dominguez.flac '''here''']}}

* ''Ya lo Ves'' - RCA Victor (#23-1233-B) - Juan Arvizu and the Orquesta de la Radio Caracas perform this bollero with Trio Mastra (19??)<ref>[https://archive.org/details/78_ya-lo-ves_juan-arvizu-orquesta-de-la-radio-caracas-trio-mastra_gbia0021427b ''Ya no Ves'' Single record performed by Juan Arvizu and Trio Mastra on Archive.org]</ref>
* ''Yo'' - Tico (#10-059 A) - Juan Arvizu and the organist Salvador Muñoz perform this song by J. A. Jimenez (19??)<ref>[https://archive.org/details/78_yo_juan-arvizu-salvador-munoz-j-a-jimenez_gbia0021425a ''Yo'' Single record performed by Juan Arvizu and organist Salvador Muñoz on Archive.org]</ref>

==Filmography==
* ''O Grande Amor De María Grever 1954 Leg'' - Juan Arvizu as himself singing (1954)<ref>[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Grande Amor De María Grever 1954 Leg'' Biographical film of María Grever featuring Juan Arvizu in performance on Archive.org]</ref>
* ''[[When I Leave|Cuando Me Vaya]]'' - Juan Afrvizu as himself singing (1954)<ref>[https://www.imdb.com/title/tt0045662/?ref_=nm_flmg_act_1 ''Cuando Me Vaya'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>
* ''Infidelidad'' - Juan Arvizu as himself singing (1940)<ref>[https://www.imdb.com/title/tt0177863/fullcredits?ref_=tt_cl_sm#cast ''Infidelidad'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>
* ''Ahora Seremos Felices'' - Juan Arvizu as a singer (1938)<ref>[https://www.imdb.com/title/tt2191607/?ref_=ttfc_fc_tt ''Ahora Seremos Felices'' Film featuring Juan Arvizu as a singer on imdb.com]</ref><ref name="Juan Arvizu on imdb.com"/>

== See also ==
{{Portal bar|Biography|Music|Latin music|Classical music|Opera|Mexico}}

== References ==
{{reflist}}

==External links==
* [https://archive.org/search.php?query=Juan%20Arvizu Recordings of Juan Arvizu in performance on Archive.org]
* [http://frontera.library.ucla.edu/artists/juan-arviz%C3%BA Recordings of Juan Arvizu in performance - Strachwitz Frontera Collection of Mexican and Mexican American Recordings at the University of California Los Angeles on library.ucla.edu]
*[https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 ''Viva Sevilla!'';''Noche de Amor'';''Mi Sarape'';''Que Paso?'';''El Bigote de Tomas'';''De Donde'' Recordings of Juan Arvizu performing with CBS Tipica Orchestra conducted by Alfredo Antonini with acordionist John Serry Sr. on Archive.org]
* [http://bdh.bne.es/bnesearch/CompleteSearch.do?field=todos&text=Juan+Arvizu&showYearItems=&exact=on&textH=&advanced=false&completeText=&pageSize=1&pageSizeAbrv=30&pageNumber=3 ''Enamorada'' and ''Señora tentación'' by Agustín Lara performed by Juan Arvizu and orchestra on Biblioteca Digital Hispánica - Biblioteca Nacional De Esapaña at bdh.bne.ed {{in lang|es}}]
* [http://www.todotango.com/musica/tema/2939/Plegaria/ ''Plegaria'' Recording of Juan Arvizu with orchestra singing this tango by Eduardo Bianco on todotango.com {{in lang|es}}]
* {{IMDb name}}
* [https://adp.library.ucsb.edu/names/100191 Juan Arvizu recordings] at the [[Discography of American Historical Recordings]].
{{authority control}}

{{DEFAULTSORT:Arvizu, Juan}}
[[Category:Mexican tenors]]
[[Category:Victor Records artists]]
[[Category:Columbia Records artists]]
[[Category:1900 births]]
[[Category:1985 deaths]]
[[Category:Tico Records artists]]
[[Category:People from Querétaro City]]
[[Category:20th-century Mexican male singers]]

Nestor Mesta Chayres

2024-10-03T23:21:42Z

160.72.80.178: ''Minor edit===>removed dead External Media link''~~~~NHPL

{{Short description|Mexican tenor}}
{{Use American English|date = March 2019}}

{{Use mdy dates|date = March 2019}}
{{Infobox musical artist
| name = Néstor Mesta Cháyres
| image =
| image_size =
| landscape =
| alt =
| caption =
| birth_name =
| alias = Nestor Chaires
| birth_date = {{birth date|1908|02|26}}
| birth_place = [[Ciudad Lerdo]], 
{{Flag|Mexico}}
| origin =
| death_date = {{death date and age|1971|06|29|1908|02|26}}
| death_place = [[Mexico City]], Mexico
| genre = [[Opera]], [[Bolero]], [[Vocalist]]
| occupation = Lyric [[Tenor]]
| instrument =
| years_active = 1929–1970
| label =
| past_member_of = [[National Symphony Orchestra (Mexico)]], [[Philadelphia Orchestra]], [[New York Philharmonic]], [[Chicago Opera]], [[Montreal Symphony Orchestra]], [[Voice of America]], [[Juan Arvizu]], [[Alfredo Antonini]], [[Maria Grever]], [[Agustín Lara]], [[John Serry Sr.]], [[Alfonso Ortiz Tirado]]
| website = Nestor Mesta Chayres on [https://www.worldcat.org/search?q=Nestor+Chayres&qt=results_page worldcat.org] and [https://www.imdb.com/name/nm0149736/bio imdb.com]
}}
'''Néstor Mesta Cháyres''' (aka Nestor Chaires, [[Ciudad Lerdo]], February 26, 1908 - [[Mexico City]], June 29, 1971) was an acclaimed [[tenor]] in Mexico and a noted interpreter of Spanish songs, [[bolero]]s and Mexican romantic music on the international concert stage. He was widely commended for his artistic renditions of the works of [[Agustín Lara]] and [[María Grever]] and was nicknamed "El Gitano de México".<ref name="translate.google.com">[https://translate.google.com/translate?hl=en&sl=es&u=http://eglycolinamarinprimera.blogspot.com/2014/09/nestor-mesta-chayres-mejico.html&prev=search ''Biographies - Egly Hill Marin First - Nestor Mesta Chayres - Méjico'' Biography of Nestor Mesta Chayres by Egly Colina Marín oneglycolinamarinprimera.blogspot.com]{{in lang|es}}</ref><ref name=":0" />

== Biography ==
Néstor Mesta Cháyres was born to Florentino Mesta and Juana Cháyres in a family which included six additional children: Juanita, María Luisa, Herminia, Óscar, Jesús and Margarita in the city of Lerdo, Mexico. His initial studies in music were provided by a local teacher and an organist at the parish church. Even as a child he showed promise as an operatic singer.<ref>[https://books.google.com/books?id=pjcUAQAAIAAJ&q=Nestor+MEsta+Chayres+opera ''Nestor Mesta Chayres Biography - Chayres as a young promising operatic singer'' in "The Encyclopedia of Latin American Music in New York". Figueroa, Frank M. Pillar Publications, St. Petersburg, FL. September 1, 1994, p. 80 on https://books.google.com]</ref> In his youth, he was also known to sing to a recording of ''Caro Nome'' from [[Giuseppe Verdi]]'s opera ''[[Rigoletto]]''. While still in high school, he exhibited an exceptional vocal aptitude which earned him several awards. After the death of his father in 1925, he earned a scholarship to the [[National Conservatory of Music (Mexico)|National Conservatory of Music]] in Mexico City. His studies included instructions in music theory, harmony, counterpoint, and voice with Lambert Castañeros - who had performed at [[La Scala]] in Milan, Italy.<ref name="elsiglodetorreon.com.mx">[https://www.elsiglodetorreon.com.mx/noticia/956791.nestor-mesta-chayres.html ''El Siglo de Torréon - Néstor Mesta Cháyres'' Biography on elsiglodetorreon.com]{{in lang|es}}</ref>

Néstor's professional career began in the artistic center of the Mexican capital in 1929 performing songs of [[Jorge del Moral]] and [[Agustín Lara]] at the Bolivár Amphitheater at the National Preparatory School. Soon he achieved success on the radio station X.E.B. in Mexico City, where he continued to perform for four years. By 1933 he launched a concert tour with the pianist [[Jorge del Moral]] to Havana, Cuba where he performed the waltz ''Divina Mujer'' at various theaters. He also appeared in three gala concerts for the President of the Republic during his two-month tour on the island. After returning to Mexico City in 1934, he also recorded several songs including ''Morena'' (Jorge del Moral).<ref name="elsiglodetorreon.com.mx"/>

[[File:Bellas Artes 01.jpg|thumb|left|Palace of Fine Arts, Mexico City Bellas Artes 01]]

By the early 1940s, Cháyres had achieved extensive notoriety throughout Mexico. He soon collaborated with the [[National Symphony Orchestra (Mexico)|Sypmphony Orchestra of Mexico]] in a concert at the prestigious [[Palacio de Bellas Artes|Palace of Fine Arts]] in Mexico City in 1943. This set the stage for Néstor's debut in New York City on the radio for WABC under the direction of [[Andre Kostelanetz]] and a subsequent concert with the [[Philadelphia Orchestra]].<ref>[https://books.google.com/books?id=vAlZIlzxOsQC&dq=Nestor+Chayres+Andre+Kostelanetz&pg=PA341 ''Andre Kostelanetz On Records and On the Air - A Discography and Radio Log''] North, James A. The Scarecrow Press Inc. Lanham, UK, 2011 p. 341 {{ISBN|978-0-8108-7732-0}} Nestor Chayres performs with Andre Kostelanetz in "The Pause That Refreshes on the Air" on WABC 11/29/1943 on https://books.google.com</ref><ref>[https://books.google.com/books?id=wAwEAAAAMBAJ&dq=Nestor+Chayres+Andre+Kostelanetz&pg=PT22 ''The Billboard - In Short - Mexico City - Nestor Chayres and Andre Kostelanetz'' The Billboard, January 1, 1944 p. 23]</ref><ref>[https://www.worldcat.org/oclc/696225965 ''Music of the Two Americas - The pause that refreshes on the air'' - CBS Radio broadcasts by Andre Kostelanetz including Néstor Chayres in 1943 on worldcat.org]</ref><ref>[https://www.worldcat.org/oclc/793587502 ''On the air: plus Gypsy Songs'' - radio broadcast by Andre Kostelanetz Orchestra with Néstor Chayres and Ethel Smith (1946) on worldcat.org]</ref> As a distinguished opera vocalist, Chayres was also invited by the CBS network to collaborate with the contralto [[Tona la Negra]] and Andre Kostelanetz conducting the Mexican Symphony Orchestra in a special Easter Sunday broadcast as supervised by the OIAA ([[Office of Inter-American Affairs]]) of the United States [[Department of State]].<ref>[https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Nestor+Mesta+Chayres&pg=PA51 ''Nestor Mesta Chayres - mexican opera singer with contralto Tona La Negra, conductor Andre Kostelanetz and the Mexican Symphony Orchestra''] in "Media, Sound and Culture in Latin America and the Caribbean" Editors- Alejandra Bronfman and Andrew Grant Wood. University of Pittsburgh Press, Pittsburgh, PA, 2012, p. 51 {{ISBN|978-0-8229-6187-1}} on https://books.google.com</ref> In the early 1940s he also concertized regularly at the Havana Madrid night club in New York to the acclaim of critics.<ref>[https://books.google.com/books?id=wAwEAAAAMBAJ&dq=Nestor+Chaires&pg=PT19 ''The Billboard - Night Club Reviews - Havana Madrid New York'' - Critical review of Nestor Chaires' performance in "The Billboard" January 1, 1944 p. 20 on https://books.google.com]</ref><ref>[https://books.google.com/books?id=3xkEAAAAMBAJ&dq=Nestor+Chayres&pg=PT52 ''The Billboard - Night Club Reviews - Havana Madrid New York'' - Critical review of Nestor Chayres performance in ''The Billboard'' May 25, 1946 p. 53]</ref>

Cháyres joined the staff at the [[Columbia Broadcasting System]] (CBS Radio) in 1943 under the musical direction of [[Alfredo Antonini]] as a featured soloist on the radio program ''[[Viva América]]'' while collaborating with the accordionist [[John Serry Sr.]]<ref name="books.google.com">''Media Sound & Culture in Latin America.'' Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 ''Media Sound & Culture in Latin America''. Editors: Bronfman, Alejanda & Wood, Andrew Grant. Nestor Mesta Chayres, Alfredo Antonini, ''Viva America'' performing for CBS on https://books.google.com]</ref><ref>[https://books.google.com/books?id=AB4EAAAAMBAJ&dq=Nestor+Chayres&pg=PA106 ''Nestor Chayres - Radio Caracas ORK Victor 23-0956'' "Viva America" & Nestor Chayres in The Billboard October 30, 1948 p. 106 on https://books.google.com]</ref> and the vocalist [[Manolita Arriola]].<ref>[https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995940?adppopup=true Photograph of Nestor Chayres and Manolita Arriola on ''Viva America'' for CBS Radio in 1946]</ref> He continued to collaborate with Antonini on additional live radio broadcasts for [[Voice of America]] and the [[Department of State]]'s Office of International Broadcasting and Cultural Affairs in subsequent years.<ref>{{Citation|title=American personalities parade program no. 11: program no. 12.|publisher=Department of State, Office of International Information, International Broadcasting Division|oclc=803259289}}</ref><ref>{{Citation|title=Viva America] no. 79, no. 80: rhythms of the New World : program X-82 : program X-83.|publisher=Department of State, Office of International Information and Cultural Affairs, International Broadcasting Division|language=es|oclc=803962437}}</ref><ref>{{Citation|title=Rhythms of the New World program X-91: program X-92.|publisher=Department of State, Office of International Information and Cultural Affairs, International Broadcasting Division|language=es|oclc=803191246}}</ref><ref>{{Citation|title=Latin-American popular music series program no. 17: program no. 18.|publisher=Department of State, Office of International Information and Cultural Affairs, International Broadcasting Division|language=es|oclc=803242195}}</ref> These performances were also broadcast overseas for the benefit of the members of America's armed forces personnel during World War II <ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&dq=Nestor+Mesta+Chayres&pg=PA33 ''Nestor Mesta Chayres and records of Alfredo Antonini 1949''] on "The Directory of the Armed Forces Radio Service Series" Editor Harry Mackenzie. Greenwood Press, CT. 1999 p. 33 {{ISBN|0-313-30812-8}} on https://books.google.com</ref> In addition, they helped to introduce [[Latin American music]] and the Mexican bolero to large audiences throughout the United States during the 1940s.<ref>''Media Sound & Culture in Latin America.'' Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&dq=Alfredo+Antonini+Elsa+Miranda&pg=PA49 ''Media Sound & Culture in Latin America''. Editors: Bronfman, Alejanda & Wood, Andrew Grant. Nestor Mesta Chayres, Alfredo Antonini, CBS Latin American music on https://books.google.com]</ref> Several recordings of [[boleros]] were also produced in collaboration with Antonini and his orchestra during this time on [[Decca Records]] including: ''Noche de Ronda'' (23770 B) and ''[[Granada (song)|Granada]]'' (23770 A).<ref>[https://archive.org/search.php?query=Nestor%20%20Chayres Archived record albums with Alfredo Antonini for Decca Records and Orchestra of the Radio Caracas, Isidor Handler for RCA Victor Records - Performances by Nestor Mesta Chayres on Archive.org]</ref> His recordings in both North and South America for [[RCA Victor]] from this period featured collaborations with the Orquesta Radio Caracas and the Orquesta Gonzalo Cervera.<ref name="AB4EAAAAMBAJ p. 106">[https://books.google.com/books?id=AB4EAAAAMBAJ&dq=Nestor+Chayres&pg=PA106 ''Nestor Chayres - Radio Caracas ORK Victor 23-0956'' Record Review of Nestor Chayres in The Billboard October 30, 1948 p. 106 on https://books.google.com]</ref><ref>{{Cite web|url=https://www.worldcat.org/search?q=Nestor+Chayres&fq=&dblist=638&qt=first_page|title=Néstor Chayres discography|website=www.worldcat.org|language=en|access-date=2019-03-26}}</ref> They included: ''Princesita'' ( # 90-0595-A), ''Todo Mi Ser'' (# 90-0595-B), ''Manolete'' (# 23-0853-A) and ''Silverio'' (#20-0853-B).<ref>[https://archive.org/search.php?query=Nestor%20%20Chayres Archived record albums with Alfredo Antonini for Decca Records and Orchestra of the Radio Caracas, Isidor Handler for RCA Victor Records - Performances by Nestor Mesta Chayres on Archive.org]</ref>

[[File:Carnegie-hall-isaac-stern.jpg|thumb|Carnegie Hall, New York City Carnegie-hall-isaac-stern]] Néstor also performed regularly on the [[NBC]] radio network during this time. He first concertized at the historic [[The Town Hall (New York City)|Town Hall]] in New York City in 1945 and returned for a repeat performance three years later.<ref>[https://books.google.com/books?id=YacaAQAAMAAJ&q=Nestor+Chayres Critical reviews of Nestor Chayres in performance at Town Hall in ''Music Reporter'' on https://books.google.com]</ref> Subsequently, he collaborated once again with Alfredo Antonini conducting the [[New York Philharmonic]] for a gala ''Night of the Americas'' concert at [[Carnegie Hall]] in 1946.<ref name=":0">{{Cite web|url=https://www.elsiglodetorreon.com.mx/noticia/956791.nestor-mesta-chayres.html|title=Biography: Néstor Mesta Cháyres|website=www.elsiglodetorreon.com.mx|publisher=El Siglo de Torréon|language=es-MX|access-date=2019-03-26}}</ref><ref>''The New York Times'' May 12, 1946 p. 42</ref><ref>{{Cite web|url=https://www.worldcat.org/search?q=au:Chayres,+Nestor.&qt=hot_author|title=Cataloged performances by Néstor Chayres|website=www.worldcat.org|language=en|access-date=2019-03-26}}</ref><ref name="books.google.com"/><ref name="Orchestra 1946">[https://archive.org/details/78_romantic-songs-of-latin-america_nestor-chayres-alfredo-antonini-and-his-concert-orc_gbia8005920/05+-+EL+RELICARIO+-+NESTOR+CHAYRES+-+Alfredo+Antonini+And+His+Concert+Orchestra.flac "Nestor Chayres Singing Romantic Songs of Latin America With Alfredo Antonini and his Concert Orchestra" (Decca, A-507, 1946) See biographical notes on album cover. on Archive.org]</ref>

Based upon these achievements, an extensive array of international concerts emerged which included an appearance with the [[Montreal Symphony Orchestra|Montreal Philharmonic Orchestra]] in Canada in 1946.<ref>[https://books.google.com/books?id=FxoEAAAAMBAJ&dq=Nestor+Chayres&pg=PT2 ''The Billboard - Montreal Plans Big Concert Season; 1st Pulls Over 10,000'' Critical review of Nestor Chayres and the Montreal Philharmonic in "The Billboard" June 29, 1946 p. 3 on https://books.google.com]</ref> While concertizing in South America he performed in Peru, Columbia, Venezuela, Chile and Argentina. He also returned to Mexico to perform for President [[Miguel Alemán Valdés]] in 1947 and was also featured in May 1947 at a reception held for President Aleman at the Waldorf-Astoria Hotel in New York City.<ref name="Orchestra 1946"/> In 1949 he joined forces with the [[Chicago Opera]] House and concertized throughout Europe in France, Sweden, Holland, Norway, Denmark, England and Spain.<ref>''[https://www.elsiglodetorreon.com.mx/noticia/956791.nestor-mesta-chayres.html Como artista de la Chicago Ópera House, en 1949, viaja por Europa en gira de conciertos por España, Francia, Holanda, Noruega, Suecia, Dinamarca e Inglaterra - i.e. Nestor Mesta Chayres joins the Chicago Opera House Co. in 1949 and concertizes in Spain, France, the Netherlands, Norway, Sweden, Denmark and England]''</ref><ref>[https://translate.google.com/translate?hl=en&sl=es&u=http://eglycolinamarinprimera.blogspot.com/2014/09/nestor-mesta-chayres-mejico.html&prev=search ''Nestor Mesta Chayres was one of the few popular artists to be represented by the office of Sol Hurok and tours countries like ...Holland, Norway, Sweden and Finland'' from "Biographies Egly Marin First - Nestor Mesta Chayres" on translate.google.com]</ref> During this time Chayres was represented by the prestigious [[impresario]] [[Sol Hurok]]<ref>[https://translate.google.com/translate?hl=en&sl=es&u=http://eglycolinamarinprimera.blogspot.com/2014/09/nestor-mesta-chayres-mejico.html&prev=search "Nestor Mesta Chayres was one of the few popular artists to be represented by the office of Sol Hurok" from "Biographies Egly Marin First - Nestor Mesta Chayres" on translate.google.com]</ref> In Madrid, he performed the ''[[Siete canciones populares españolas|Seven Songs]]'' of [[Manuel de Falla]] to great acclaim. His final tour in the United States and Canada was completed in 1950. Upon returning to Mexico City, he married his wife Peggy Satanon who "discovered" Cháyres during a recital at the Palace of Fine Arts.<ref name=":0" />

In 1951, Néstor's artistic career was interrupted by the tragic death of his mother in an automobile accident. Cháyres suspended his concert appearances for over ten years but did appear in the movie ''[[Cuando me vaya]]'' in 1954 in collaboration with the such as actors as [[Libertad Lamarque]], [[Miguel Torruco]], [[Julián de Meriche]] and fellow vocalists [[Juan Arvizu]] and [[Alfonso Ortiz Tirado]].<ref>{{Cite web|url=http://www.imdb.com/name/nm0149736/|title=Néstor Chaires|website=IMDb|access-date=2019-03-26}}</ref><ref>{{Citation|title=Cuando me vaya|url=https://www.imdb.com/title/tt0045662/|work=Internet Movie Database|access-date=2019-03-26}}</ref><ref name="archive.org">[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Gande Amor De maria Grever'' - ''Cuando me Vaya'' - featuring Néstor Chayres - see opening crdits on archive.org]</ref> This film biography of the Mexican songwriter [[María Grever]] earned two [[Ariel Award]]s in Mexico in 1955.<ref>[https://www.imdb.com/title/tt0045662/awards?ref_=tt_awd ''Cuando me vaya'' - Awards on imdb.com]</ref> He returned to television in 1968 for an appearance in the ''[[Paco Malgesto]] Hour'' and in 1969 on ''The Golden Hour of the W''. His final appearance on television occurred in 1970 on the show ''24 Hours''.<ref name="elsiglodetorreon.com.mx"/>

=== Performance style ===
{{ external media|float=left|width=200px|image1=Photograph of Nestor Chayres for "Viva America" on CBS Radio in 1946 [https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995940?adppopup=true '''Here on Getty images''']|image2=Photograph of Nestor Chayres and Manolita Arriola for "Viva America" on CBS Radio in 1946 [https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905998882?adppopup=true '''Here on Getty Images''']}}

During the course of his professional career, critics in ''[[Billboard (magazine)|Billboard]]'' magazine applauded Néstor Mesta Cháyres for a powerful, exciting and dramatic delivery which pleased his audiences.<ref>[https://books.google.com/books?id=wAwEAAAAMBAJ&dq=Nestor+Chaires&pg=PT19 ''The Billboard - Night Club Reviews - Havana-Madrid, New York'' A Critical Review of Chaires in "The Billboard" January 1, 1944 p. 20]</ref><ref>[https://books.google.com/books?id=3xkEAAAAMBAJ&dq=Nestor+Chayres&pg=PT52 ''The Billboard - Night Club Reviews - Havana Madrid New York'' - Critical review of Nestor Chaires' performance in "The Billboard" May 25, 1946 p. 53 on https://books.google.com]</ref> He was also commended for the warmth and tenderness of his renditions.<ref name="SwwEAAAAMBAJ p. 30">[https://books.google.com/books?id=SwwEAAAAMBAJ&dq=Nestor+Chayres&pg=PT29 ''The Billboard'' - Record Reviews - Nestor Chayres - (Victor 90-0595) May 24, 1947 p. 30 ''Princesita'' Record album reviewed in Billboard on https://books.google.com]</ref> Critics also took note of his fine and full tenor voice and his capacity to interpret Mexican-gypsy folk melodies with fire and passion.<ref name="VgwEAAAAMBAJ p. 130">[https://books.google.com/books?id=VgwEAAAAMBAJ&dq=Nestor+Chayres&pg=PA130 ''The Billboard - Album Reviews - Nestor Chayres - Romantic Songs of Latin America'' Record album review in The Billboard - Alfredo Antonini conducting the Orchestra - Tenor Nestor Chayres - July 19, 1947 p. 130 on https://books.google.com]</ref><ref name="AB4EAAAAMBAJ p. 106"/> His powerful voice and expansive vocal range could even be heard outside the theater and often moved his audiences to tears.<ref>{{Cite book|url=https://books.google.com/books?id=XsNbAAAAMAAJ&q=Nestor+MEsta+Chayres|title=Bolero: Historia Documental del Bolero Mexicano|date=1993|publisher=Asociación Mexicana de Estudios Fonográficos|isbn=9789686950038|language=es}}</ref>

Néstor Mesta Cháyres' artistic interpretations of such songs as ''Murcia'', ''Toledo'', ''Clavel Sevilliano'', ''[[Granada (song)|Granda]]'' and the ''Suite Español'' by [[Agustín Lara]] earned him the beloved title - "El Gitano de Mexico" ("The Gyspy of Mexico").<ref>{{Citation|title=El Gitano de México Nestor Chayres canta a Agustín Lara y María Grever|date=2001|publisher=Blue Moon|language=es|oclc=806502602}} (Sound recording)</ref> He was often compared favorably to the outstanding lyric tenors of his time including: [[Juan Arvizu]], Luise G. Roldán and [[Alfonso Ortiz Tirado]] and [[Tito Schipa]].<ref name=":0" /><ref>[https://books.google.com/books?id=VgwEAAAAMBAJ&dq=Nestor+Chayres&pg=PA130 ''Album Reviews - Nestor Chayres - Romantic Songs of Latin America (Decca A-507)'' The Billboard, July 19, 1947 p. 130 on https://books.google.com]</ref><ref name="translate.google.com"/>

=== Death ===

Néstor Mesta Cháyres passed away during 1971 in Mexico City after suffering a heart attack at the age of 63. His musical legacy includes an extensive collection of recordings of the works of [[Agustín Lara]] and [[María Grever]].<ref>{{Cite web|url=https://www.worldcat.org/search?qt=worldcat_org_all&q=Nestor+Chayres|title=Nėstor Cháyres record albums cataloged|website=www.worldcat.org|language=en|access-date=2019-03-26}}</ref>

== Discography ==
{{ external media | |width=200px|audio1 = You may listen to Néstor Mesta Cháyres performing [[Augustin Lara]]'s bolero ''[[Noche de ronda|Noche de Ronda]]'' with the [[Alfredo Antonini]] Orchestra in 1946 [https://archive.org/details/78_romantic-songs-of-latin-america_nestor-chayres-alfredo-antonini-and-his-concert-orc_gbia8005920/03+-+GRANADA+-+NESTOR+CHAYRES+-+Alfredo+Antonini+And+His+Concert+Orchestra.flac '''Here''']}}

===Albums===
* ''Nestor Chaires'' - RCA de Venezuela - Néstor Cháyres performing in Caracas, Venezuela (1965?)<ref>[https://www.worldcat.org/oclc/844080926 Record album ''Nestor Chaires'' cataloged on Worldcat.org]</ref> List of musical selections: ''Somos Differentes'', ''Hoy No Quisiera Vivir'', ''Rocio'', ''Por Eso Si Te Digo'', ''Asi'', ''No Espero Nada de Ti''
* ''Nestor Chayres Canta'' - SMC-Proarte - Néstor Cháyres with the Alfredo Mendez Orchestra performing songs by Agustín Lara (196?)<ref>[https://www.worldcat.org/oclc/9150903 ''Nestor Chayres Canta'' Record Album - Nestor Chayres performs songs of Agustín Lara with the Alfredo Mendez Orchestra on worldcat.org]</ref> List of musical selections: ''Arráncame la Vida'' - Agustín Lara, ''Farolito'' - Agustín Lara, ''Santa'' - Agustín Lara, ''Pregon de las Flores'' - Agustín Lara, ''Mirame'' - Agustín Lara, ''Mi Rival'' - Agustín Lara, ''Españolerias'' - Agustín Lara, ''Piensa En Mi'' - Agutín Lara
* ''Nestor Chayres - Romantic Songs of Latin America'' - Decca Records (catalogue # A 507) - Néstor Cháyres with the Alfredo Antonini Orchestra (1947,1950)<ref>[https://www.worldcat.org/oclc/49699654 ''Nestor Chayres singing romantic songs of Latin America'' on worldcat.org]</ref><ref name="VgwEAAAAMBAJ p. 130"/> List of musical selections: ''La Morena de mi Copla'' - Carlos Castellano Gómez, ''Lamento Gitano'' - [[María Grever]], ''[[Granada (song)|Granada]]'' - [[Agustín Lara]], ''Noche de Ronda'' - Agustín Lara, ''El Relicario''- [[José Padilla (composer)|José Padilla Sanchez]], ''Oración Caribe'' - Agustín Lara, ''Princesita'' - José Padilla Sanchez, ''Ay, Ay, Ay'' - [[Osmán Pérez Freire]]
* ''Seven Spanish Folk Songs'' - Kingsway - Néstor Cháyres with the pianist Fritz Kramer performing music by Manuel de Falla (195?)<ref>[https://www.worldcat.org/oclc/54909089 ''Seven Spanish Folk Songs'' Record Album - Néstor Cháyres with pianist Fritz Kramer performing songs by Manuel de Falla on Worldcat.org]</ref> List of musical selections: ''El Paño Moruno'' - [[Manuel de Falla]], ''Seguidilla Murciano'' - Manuel de Falla, ''Asturiana'' - Manuel de Falla, ''Jota'' - Manuel de Falla, ''Nana'' - Manuel de Falla, ''Cancion'' - Manuel de Falla, ''Polo'' - Manuel de Falla, ''Mi Pobre Reja'' - Spanish folk song, ''Del Cabello mas Sutil'' - Spanish fok song, ''La Partida'' - Spanish folk song, ''Copla'' - Spanish folk song, ''Clavelitos'' - Spanish folk song, ''Mi Maja'' - Spanish folk song, ''A Granada'' - Spanish folk song, ''Hableme de Amores'' - Spanish folk song, ''Grandinas'' - Spanish folk songs

===Singles===
{{ external media |width=200px|audio1 = You may listen to Néstor Mesta Cháyres performing [[Maria Grever]]'s bolero ''Todo Mi Ser'' and ''Princesita'' by M. E. Palomero with the Isidor Handler Orchestra in 1947 [https://archive.org/details/78_todo-mi-ser_nestor-chayres-maria-grever-isidor-handler-y-su-orquesta_gbia0021458b/Todo+Mi+Ser+-+Nestor+Chayres+-+Maria+Grever.flac'''here''']}}

* ''Alma Mia'' - RCA Victor (Catalogue # 23-1232-B) Nestor Chayres and the Orquesta de Henri Rene perform the song by Maria Grever (19??)<ref>[https://www.worldcat.org/oclc/82713097 ''Alma Mia'' by Maria Grever as performed by Nestor Chayres and Orquesta de Henri Rene on Worldcat.org]</ref>
* ''Buenas Noches Mi Amor'' - Néstor Cháyres y El Trio del Mar - Néstor Cháyres performs song with a chorus and orchestra.<ref>[https://archive.org/search.php?query=Nestor%20Chayres ''Buenas Noches Mi Amor'' performed by Néstor Mesta Cháyres and El Trio del Mar on archive.org]</ref><ref>[https://archive.org/download/BuenasNochesMiAmor/BuenasNochesMiAmor.ogg Néstor Cháyres performs on us.archive.org]</ref>
* ''Cara Piccina'' - Victor (Catalogue # 25-7092-B) Nestor Chayres and orchestra perform the song (19??)<ref>[https://www.worldcat.org/oclc/79750212 ''Cara Piccina'' performed by Nestor Chayres on worldcat.org]</ref>
* ''Cuando Vuelva A Tu Lado'' - Néstor Mesta Cháyres performs this song by [[María Grever]] with organ, piano and orchestra<ref>[https://archive.org/search.php?query=Nestor%20Chayres ''Cuando Vuelva A Tu Lado'' performed by Néstor Cháyres on archive.org]</ref><ref>[https://archive.org/details/CuandoVuelvaATuLado_801 ''Cuando Vuelva A Tu Lado'' as performed by Nestor Mesta Chaires on archive.org]</ref>
* ''El Relicario'' - Decca (Catalogue # 50017 A) - Nestor Chayres and the Alfredo Antonini Orchestra perform the song by Jose Padilla Sanches (19??)<ref>[https://www.worldcat.org/oclc/80317502 ''El Relicario'' by Jose Padilla as performed by Nestor Chayres and the Alfredo Antonini Orchestra on worldcat.org]</ref>
* ''Gitanillo'' - Victor (catalogue # 23-1379) - Nestor Chayres performs the Paso Doble song (1949)<ref>[https://books.google.com/books?id=NA4EAAAAMBAJ&dq=Nestor+Chayres&pg=PT115 ''The Billboard - Record Reviews- Latin America - Nestor Chayres - "Gitanillo" (Paso Doble)'' - ''Gitanillo'' Record album reviewed in The Billboard November 12, 1949 p. 116 on https://books.google.com]</ref>
* ''[[Granada (song)|Granada]]'' - Decca (Catalogue # 23770 A) - Néstor Cháyres and the Alfredo Antonini Orchestra performs song by Agustín Lara (1946)<ref>[https://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a ''Granada - Nestor Chayres - Agustin Lara - Alfredo Antonini'' - Record album ''Granada'' by Agustín Lara as performed by Néstor Cháyres and the Alfredo Antonini Orcheatra on Archive.org]</ref>
* ''Hoy No Quisiera Vivir'' - Victor (Catalogue # 23-0956-A) Nestor Chayres and La Orquesta de La Radio Caracas perform this song by Avelino Munez (19??)<ref>[https://www.worldcat.org/oclc/84370332 ''Hoy No Quisiera Vivir'' by Avelino Munez - as performed by Nestor Chayres and La Qrquesta Radio Caracas on worldcat.org]</ref>
* ''Hoy No Quisiera Vivir''- Victor (Catalogue # 23-0956) - Nestor Chayres performs the bolero with the Radio Caracas Orchestra (1948)<ref name="ReferenceA">[https://books.google.com/books?id=AB4EAAAAMBAJ&dq=Nestor+Chayres&pg=PA106 ''The Billboard - Record Reviews - Nestor Chayres - Radio Caracas ORk (Victor 23-0956)'' Record album review of Nestor Chayres in ''The Billboard'' October 30, 1948 p. 106]</ref>
* ''La Guapa'' - RCA Victor (Catalogue # 23-1349-A) Nestor Chayres and Orquesta Gonzalo Cervera perform a paso doble by Luis Arcaraz (19??)<ref>[https://www.worldcat.org/oclc/80000827 ''La Guapa'' by Luis Arcaraz performed by Nestor Chayres and Orquesta Gonzolo Cervera on worldvat.org]</ref>
* ''La Morena De Me Copla'' - Decca (Catalogue # 50015 A) - Nestor Chayres and the Alfredo Antonini Orchesatra perform the song by Carlos Castellano ( 19??)<ref>[https://www.worldcat.org/oclc/78289577 ''La Morena De me Copla'' by Carlos Castellano as performed by Nestor Chayres and the Alfredo Antonini Orchestra on worldcat.org]</ref>
* ''La Vida Castiga'' - Victor (Catalogue # 23-0787-B) Nestor Chayres and orchestra perform the song by A. Mucieste (19??)<ref>[https://www.worldcat.org/oclc/80747130 ''La Vida Castiga''by A. Mucieste as performed by Nestor Chayres and orchestra on worldcat.org]</ref>
* ''Lamento Gitano'' - Decca (Catalogue # 50015) - Nestor Chayres and the Alfredo Antonini Orchestra (195?)<ref>[https://www.worldcat.org/oclc/81360596 ''Lamento Gitano'' performed by Nestor Chayres and the Alfredo Antonini Orchestra on worldcat.org]</ref>
* ''Libreme Dios'' - Victor (Catalog #23-1027) - Nestor Chayres performs the bolero - Record review (1949)<ref name="OPYDAAAAMBAJ 1027 p. 118">[https://books.google.com/books?id=OPYDAAAAMBAJ&dq=Nestor+Chayres&pg=PA118 ''The Billboard - Record Reviews - Latin American - Nestor Chayres (Victor 23-1027)'' - Record review in "The Billboard" February 26, 1949 p. 118 on https://books.google.com]</ref>
* ''Macarenas'' - RCA Victor (Catalogue # 23-5347-A) - Nestor Chayres and the Vier Fidazzini Orchestra performing the bolero (19??)<ref>[https://www.worldcat.org/oclc/79146922 ''Macarena'' performed by Nestor Chayres and the Fidazzini Orchestra on worldcat.org]</ref>
* ''Manolete'' - RCA Victor (Catalogue # 23-0853-A) - Néstor Cháyres and Orchestra Radio Caracas performs song (Paso Doble) by Manuel Álvarez Maciste (194?)<ref>[https://archive.org/details/78_manolete_nestor-chayres-orquesta-de-la-radio-caracas-manuel-alvarez-maciste_gbia0020720a ''Manolete - Nestor Chayres - Orquesta de la Radio Caracas - Manuel Álvarez Maciste'' - Record Album ''Manolete'' on Archive.org]</ref>
* ''Mucho Mas'' - Victor (Catalog #23-1027) - Nestor Chayres performs the rumba bolero by María Grever - Record review (1949)<ref name="OPYDAAAAMBAJ 1027 p. 118"/>

{{ external media |width=200px|audio1 = You may listen to Néstor Mesta Cháyres performing the paso doble ''Manolete'' by Manuel Alvarez Maciste with the Orquesta de la Radio Caracas in 194? [https://archive.org/details/78_manolete_nestor-chayres-orquesta-de-la-radio-caracas-manuel-alvarez-maciste_gbia0020720a/Manolete+-+Nestor+Chayres+-+Orquesta+de+la+Radio+Caracas.flac '''here''']}}

* ''Ni de Día, Ni de Noche'' - Barcelona Company of Gramophone Odeon (# OKA 1526) - Néstor Cháyres performs song by [[María Grever]] with orchestra (1950) <ref>
[http://bdh.bne.es/bnesearch/biblioteca/Noche%20de%20mar%20%20%20%20:%20%20%20%20%20bolero%20%20%20/qls/Reyna,%20Jos%C3%A9%20(1908%201974)/qls/bdh0000009406;jsessionid=E5BAC3DFE1AFAC20207E2EED3C7A45F7 ''Biblioteca Digital Hispánica - Biblioteca Nacional De España - Ni de Día, Ni de Noche - Néstor Chayres y orquesta'' Néstor Cháyres performing ''Ni de Día, Ni de Noche'' - María Grever, on the National Library of Spain Digital Catalog on bdh.bne.es]{{in lang|es}}</ref>

* ''No Espero Nada De Ti'' - Victor (Catalogue # 23-1315-B) Nestor Chayres sings this beguine by Maria Grever.(19??)<ref>[https://www.worldcat.org/oclc/82500847 ''No Espero Nada De Ti'' by Maria Grever as performed by Nestor Chayres on worldcat.org]</ref>
* ''No Te Vayas'' - Victor (Catalogue # 23-0899) - Record review - Nestor Chayres performs the balad with the Radio Caracas Orchestra (1948)<ref name="EAAAAMBAJ p. 108">[https://books.google.com/books?id=9x0EAAAAMBAJ&dq=Nestor+Chayres&pg=PA108 ''The Billboard - Record Reviews - Nestor Chayres - Radio Caracas Ork (Victor 23-0899)'' Record album review of Nestor Chayres in ''The Billboard'' September 4, 1948 p. 108 on https://books.google.com]</ref>
* ''Noche de Mar'' - Barcelona Company of Gramophone Odeon (Catalogue # OKA 1525) - Néstor Cháyres performs song by José Reyna with orchestra (1950) <ref>
[http://bdh.bne.es/bnesearch/biblioteca/Noche%20de%20mar%20%20%20%20:%20%20%20%20%20bolero%20%20%20/qls/Reyna,%20Jos%C3%A9%20(1908%201974)/qls/bdh0000009406;jsessionid=E5BAC3DFE1AFAC20207E2EED3C7A45F7 ''Biblioteca Digital Hispánica - Biblioteca Nacional De España - Noche de Mar - Néstor Chayres y orquesta'' Néstor Cháyres performing ''Noche de Mar'' - José Reyna, on the National Library of Spain Digital Catalog on bdh.bne.es]{{in lang|es}}</ref>

* ''[[Noche de ronda|Noche de Ronda]]'' - Decca (Catalogue # 23770 B) - Néstor Cháyres and the Alfredo Antonini Orchestra performs song by Agustín Lara (1946)<ref>[https://archive.org/details/78_noche-de-ronda_nestor-chayres-maria-teresa-lara-alfredo-antonini_gbia0021459b''Noche de Ronda - Maria Teresa Lara/Agustín Lara - Néstor Cháyres and the Alfredo Antonini Orchestra'' - Record album ''Noche de Ronda'' by Agustin Lara performed by Nestor Chayres and Alfredo Antonini Orchestra on Archive.org]</ref>
* ''Oracion Caribe'' - Decca (Catalogue # 50017) - Nestor Chayres and the Alfredo Antonini Orchestra perform the song by Agustín Lara (19??)<ref>[https://www.worldcat.org/oclc/79008668 ''Oracion Caribe'' by Agustín Lara as performed by Nestor Chyares and the Alfredo Antonini Orchestra on worldcat.org]</ref>
* ''Pobre Corazon'' - Victor (Catalogue # 23-0899) - Record review - Nestor Chayres performs the bolero with the Radio Caracas Orchestra (1948)<ref name="EAAAAMBAJ p. 108"/>
* ''Por Eco Si Te Digo'' - Victor (Catalogue # 23-0956) - Record review - Nestor Chayres performs the bolero with the Radio Caracas Orchestra (1948)<ref name="ReferenceA"/>
* ''Por Eso Si Te Digo'' - Victor (Catalogue # 23-0956-B) Nestor Chayres and La Orquesta de La Radio Caracas perform this song by Lois Blou (19??)<ref>[https://www.worldcat.org/oclc/79159115 ''Por Eso Si Te Digo''by Lois Blou as performed by Nestor Chayres and La Orquesta de La Radio Caracas on worldcat.org]</ref>
* ''Porque Te Quiero'' - RCA Victor (Catalogue # 23-1349-B) Nestor Chayres and La Orquesta Gonzalo Cervera perform this paso doble (19??)<ref>[https://www.worldcat.org/oclc/80580622 ''Porque Te Quiero'' performed by Nestor Chayres and La Orquesta Gonzalo Cervera on worldcat.org]</ref>
* ''Princesita '' - RCA Victor (Catalogue # 90-0595-A) - Néstor Cháyres and Isidor Handler Orchestra performs song by M. E. Palomero (1947)<ref>[https://archive.org/details/78_princesita_nestor-chayres-m-e-palomero-isidor-handler-y-su-orquesta_gbia0021458a ''Princesita - Nestor Chayres - M. E. Palomero - Isidor Handler y su Orquesta'' - Record Album ''Princesita'' on Archive.org]</ref><ref name="SwwEAAAAMBAJ p. 30"/>
* ''Qué Me Importa'' - Barcelona Company of Gramophone Odeon (# OKA 1527) - Néstor Cháyres performs song by Mario Fernández Porta with orchestra (1949)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?text=&showYearItems=&exact=&textH=&advanced=&completeText=&autor=Chayres%2c+N%C3%A9stor&pageSize=1&pageSizeAbrv=30&pageNumber=2 Digital Hispánica - Biblioteca Nacional De España - ''Qué Me Importa - Néstor Chayres y orquesta'' Néstor Cháyres performing ''Qué Me Importa'' - Mario Fernàandez Porta, on the National Library of Spain Digital Catalog at bdh.bne.es]{{in lang|es}}</ref>
* ''Rayito De Luna'' - RCA Victor (Catalogue # 23-1232-A) Nestor Chayres and Orquesta De Henri Rene perform this song by Chucho Navarro (19??)<ref>[https://www.worldcat.org/oclc/80206472 ''Rayito De Luna'' by Chucho Navarro - as performed by Nestor Chayres and Orquesta De Henri Rene on worldcat.org]</ref>
* ''Rocio'' - Victor (Catalogue # 23-1379) - Nestor Chayres performs the Paso Doble song (1949)<ref>[https://books.google.com/books?id=NA4EAAAAMBAJ&dq=Nestor+Chayres&pg=PT115 ''The Billboard - Record Reviews- Latin America - Nestor Chayres - "Rocio" (Paso Doble)'' - ''Rocio'' Record album reviewed in The Billboard November 12, 1949 p. 116 on https://books.google.com]</ref>
* ''Silverio'' - Barcelona Company of Gramophone Odeon (Catalogue # OKA 1528) - Néstor Cháyres performs song by [[Agustín Lara]] with orchestra (1949)<ref>[http://bdh.bne.es/bnesearch/CompleteSearch.do?text=&showYearItems=&exact=&textH=&advanced=&completeText=&autor=Chayres%2c+N%C3%A9stor&pageSize=1&pageSizeAbrv=30&pageNumber=2 ''Biblioteca Digital Hispánica - Biblioteca Nacional De España - Silverio - Néstor Chayres y orquesta'' Néstor Cháyres performing '' Silverio'' - Agustin Lara, on the National Library of Spain Digital Catalog at bdh.bne.es]{{in lang|es}}</ref>
* ''Silverio'' - RCA Victor (Catalogue # 23-0853-B) - Néstor Cháyres with the Orchestra Radio Caracas performs song (Paso Doble) by Agustín Lara (194?)<ref>[https://archive.org/details/78_silverio_nestor-chayres-orquesta-de-la-radio-caracas-agustin-lara_gbia0020720b ''Silverio - Nestor Chayres - Orquesta de la Radio Caracas - Agustín Lara'' - Record Album ''Silverio'' on Archive.org]</ref>
* ''Te Espero'' - Victor (Catalogue # 90-0599-B) - Nestor Chayres and Orchestra performing this song (19??)<ref>[https://www.worldcat.org/oclc/79813150 ''Te Espero'' performed by Nestor Chayres on worldcat.org]</ref>
* ''Todo Mi Ser'' - RCA Victor (Catalogue # 90-0595-B) - Néstor Cháyres and Isidor Handler Orchestra performs song (Bolero) by María Grever (1947)<ref>[https://archive.org/details/78_todo-mi-ser_nestor-chayres-maria-grever-isidor-handler-y-su-orquesta_gbia0021458b ''Todo Mi Ser - Nestor Chayres - Maria Grever - Accompaniment by the - Isidor Handler y su Orquesta'' - Record Album ''Todo Mi Ser'' on Archive.org]</ref><ref>[https://books.google.com/books?id=SwwEAAAAMBAJ&dq=Nestor+Chayres&pg=PT29 ''The Billboard - Record Reviews - Nestor Chayres - (Victor 90=0595)'' May 24, 1947 p. 30 ''Todo Mi Ser'' Record Album reviewed in Billboard on https://books.google.com]</ref>

{{ external media | width=200px|audio1 = You may listen to Néstor Mesta Cháyres performing [[Augustin Lara]]'s bolero "Silverio'" with the Orquesta de la Radio Caracas in 1947 [https://archive.org/details/78_silverio_nestor-chayres-orquesta-de-la-radio-caracas-agustin-lara_gbia0020720b/Silverio+-+Nestor+Chayres+-+Orquesta+de+la+Radio+Caracas.flac '''here''']}}

* ''Torna Piccina'' - Victor (Catalogue # 25-7092-A) - Nestor Chayres and Orchestra performing (19??)<ref>[https://www.worldcat.org/oclc/81730698 ''Torna Piccina'' performed by Nestor Chayres on worldcat.org]</ref>
* ''Tu Valsecito'' - RCA Victor (Catalogue # 23-5347-B) Nestor Chayres and Vieri Fidazini Orchestra perform the song by Francisco Flores (19??)<ref>[https://www.worldcat.org/oclc/81447357 ''Tu Valsecito'' by Francisco Flores as performed by Nestor Chayres on worldcat.org]</ref>
* ''Tus Lindos Ojos'' - Victor (Catalogue # 90-0599-A) Nestor Chayres and orchestra perform the song by Luis Alvarez (19??))<ref>[https://www.worldcat.org/oclc/78444228 ''Tus Lindos Ojos'' by Luis Alvarez performed by Nestor Chayres on worldcat.org]</ref>

== Filmography ==

* ''[[Cuando me vaya]]'' (1954) - Néstor Chaires as himself<ref>[https://www.imdb.com/name/nm0149736/?ref_=nv_sr_1 Néstor Chaires on imdb.com]</ref><ref>[https://www.imdb.com/title/tt0045662/?ref_=nm_knf_t1 ''Cuando Me Vaya'' on imdb.com]</ref><ref name="archive.org"/>
* ''O Grande Amor De María Grever 1954 Leg'' - Néstor Chayres as himself in performance<ref>[https://archive.org/details/OGrandeAmorDeMariaGreves1954Leg ''O Grande Amor De María Grever 1954 Leg'' Biographical film of María Grever featuring a performance by Nestor Mesta Chayres]</ref>

== Bibliography ==
* ''Enciclopèdia Espasa'' - Annual supplements 1971-72, pages 215-16 ({{ISBN|84-239-4600-2}})
* ''Media Sound & Culture in Latin America.'' Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}}
* ''Encyclopedia of Latin American Music in New York'' Figueroa, Frank M. Pillar Publications, September 1, 1994 p. 80<ref>[https://books.google.com/books?id=pjcUAQAAIAAJ&q=Nestor+Chayres Néstor Chayres Biography on https://books.google.com]</ref>

== See also ==
{{Portal bar |Biography|Music|Latin music|Classical music|Opera|Mexico}}

== References ==
{{reflist}}

== External links ==

* [https://www.worldcat.org/search?q=au%3AChayres%2C+Nestor.&qt=hot_author Cataloged performances by Nestor Mesta Chayres on Worldcat.org]
* [https://archive.org/search.php?query=Nestor%20%20Chayres Archived record albums - Performances by Nestor Mesta Chayres on Archive.org]
* [https://archive.org/details/78_silverio_nestor-chayres-orquesta-de-la-radio-caracas-agustin-lara_gbia0020720b Archived album Néstor Cháyres performing ''Silverio'' - Agustin Lara with the Orchestra de la Radio Caracas on archive.org]
* [https://archive.org/details/78_romantic-songs-of-latin-america_nestor-chayres-alfredo-antonini-and-his-concert-orc_gbia8005920/05+-+EL+RELICARIO+-+NESTOR+CHAYRES+-+Alfredo+Antonini+And+His+Concert+Orchestra.flac Archived album Néstor Cháyres and the Alfredo Antonini Orchestra performing ''Noche de Ronda'' on archive.org]
* [https://archive.org/details/78_romantic-songs-of-latin-america_nestor-chayres-alfredo-antonini-and-his-concert-orc_gbia8005920/05+-+EL+RELICARIO+-+NESTOR+CHAYRES+-+Alfredo+Antonini+And+His+Concert+Orchestra.flac Archived album -''Nestor Chayres and the Alfredo Antonini Orchestra'' performing ''Granda'' (Agustín Lara, 1946) on Archive.org.]
* [http://frontera.library.ucla.edu/frontera-search?keywords=Nestor+Chayres Archived albums - ''Nestor Chayres and Orchestra'' at the University of California Los Angeles Library - Strachwitz Frontera Collection of Mexican and Mexican American Recordings on Frontera.library.ucla.edu]
* [http://bdh.bne.es/bnesearch/CompleteSearch.do?numfields=1&field1=autor&showYearItems=&visor=&field1val=%22Chayres%2c+N%c3%a9stor%22&advanced=true&field1Op=AND&exact=on&textH=&completeText=&text=&pageSizeAbrv=30&pageSize=1&pageSizeAbrv=30&pageNumber=2 Néstor Cháyres performing ''Silverio'' - Agustín Lara on the National Library of Spain Digital Catalog - Digital Hispánica - Biblioteca Nacional De España - Qué Me Importa - Néstor Chayres y orquesta at bdh.bne.es]{{in lang|es}}
*[http://bdh.bne.es/bnesearch/CompleteSearch.do?visor=&text=&field1val=%22Chayres%2c+N%c3%a9stor%22&showYearItems=&field1Op=AND&numfields=1&exact=on&textH=&advanced=true&field1=autor&completeText=&pageSizeAbrv=30&pageSize=1&pageSizeAbrv=30&pageNumber=1 Néstor Cháyres performing ''Noche de Mar'' - José Reyna on the National Library of Spain Digital Catalog - Digital Hispánica - Biblioteca Digital Hispánica - Biblioteca Nacional De España - Noche de Mar - Néstor Chayres y orquesta on bdh.bne.es]{{in lang|es}}

{{Authority control}}

{{DEFAULTSORT:Cháyres, Néstor Mesta}}
[[Category:1908 births]]
[[Category:1971 deaths]]
[[Category:Victor Records artists]]
[[Category:Mexican tenors]]
[[Category:20th-century Mexican male singers]]

John Serry Sr.

2024-10-03T23:10:58Z

160.72.80.178: ''Minor edit===>repaired dead External Media link''~~~~NHPL

{{short description|American concert accordionist, arranger, and composer}}
{{About|the classical music accordionist and organist|the jazz pianist and composer|John Serry Jr.|the American electronic music composer|Jonn Serrie}}


{{Infobox person
| name = John Serry
| image = John-Serry-Sr.gif
| image_size =
| caption = John Serry in 1967
| birth_date = {{birth date|1915|01|29}}
| birth_place = [[Brooklyn]], United States
| death_date = {{death date and age|2003|09|14|1915|01|29}}
| death_place = [[Long Island]], United States
| restingplace =
| othername =
| occupation = Accordionist, Organist, Educator, Composer
| yearsactive = 1930-2002
| spouse =
| children =
}}

'''John Serry Sr.''' (born '''John Serrapica'''; January 29, 1915 – September 14, 2003) was an American concert accordionist, arranger, composer, organist, and educator. He performed on the [[CBS]] Radio and Television networks and contributed to [[Voice of America]]'s [[cultural diplomacy]] initiatives during the [[Golden Age of Radio]]. He also concertized on the accordion as a member of several orchestras and jazz ensembles for nearly forty years between the 1930s and 1960s.<ref>''Allegro'', American Federation of Musicians, New York, January 2004, Vol CIV, Obituary and the date of death for John Serry listed as Sept. 14, 2003 as posted by his son John Serry Jr. [http://www.local802afm.org/publication_entry.cfm?XEntry=23736371 No. 1.] {{webarchive|url=https://web.archive.org/web/20060528201555/http://www.local802afm.org/publication_entry.cfm?xEntry=23736371 |date=2006-05-28 }}</ref><ref name="auto6">{{cite web|url=https://www.archives.com/1940-census/john-serrapica-ny-65186289?FirstName=John&LastName=Serrapica&Location=NY&folderImageSeq=724|title=John Serrapica from Assembly District 16 Brooklyn in 1940 Census District 24-1722|website=Archives.com}}</ref>
{{external media|width=285px|audio1=You may hear John Serry Sr. in his arrangement of [[Agustin Lara]]'s bolero ''[[Granada (song)|Granada]]'' in 1956 [https://listenbrainz.org/artist/9ff7e10c-d72b-4948-9a2e-635b0ad19be0/ '''Here on Listenbrainz.org''']}}

==Biography==
Serry's career spanned over seven decades. As a proponent of Latin American music and the [[free-bass system|free-bass accordion]], he performed as the [[piano accordion]]ist on the radio music program ''[[Viva América]]'', which was broadcast live to South America under the United States Department of State's [[Office of the Coordinator of Inter-American Affairs]]' [[cultural diplomacy]] initiative for [[Voice of America]] during [[World War II]].<ref>{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (See photograph showing Serry seated as the accordionist in the orchestra above the caption "The Latin-American artist Juan Arvizu with the CBS Pan American Orchestra conducted by Alfredo Antonini"</ref><ref>''The New York Times'', January 8, 1941, p. 18</ref><ref>''The New York Times'', January 1, 1942, p. 27</ref><ref>''The New York Times'', May 10, 1942, p. SM10</ref><ref>''The New York Times'', February 28, 1943, p. X9</ref><ref>''Time'', June 1, 1942.</ref> Broadcasts of this show have been cited as helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States in the 1940s.<ref name="auto9">Media Sound & Culture in Latin America & The Caribbean. Editors: Bronfman, Alejandra & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, 2012, p. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 Alfredo Antonini's CBS Pan American Orchestra, "Viva America" and Latin American music in the United States on Books.Google.Cmm See p. 49]</ref><ref name="auto8">{{Cite book|url=https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166|title=Dissonant Divas in Chicana Music: The Limits of la Onda|first=Deborah R.|last=Vargas|date=August 29, 2012|pages=153–157|publisher=U of Minnesota Press|via=Google Books|isbn=9780816673162}}</ref>

Serry performed with big bands, symphony orchestras, radio and television orchestras, and Broadway orchestras at the [[Radio City Music Hall]],<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry...appearing as a soloist at the Radio City Music Hall" – on archive.org]</ref>
the [[Rainbow Room]] at Rockefeller Center (1935);<ref name="article9" /> the Starlight Roof at the [[Waldorf Astoria Hotel]] (1936–1937);<ref>''Accordion News'', November, 1937.</ref><ref>''Accordion World'', March, 1946, Vol. 11 #11</ref> the [[Palmer House Hilton|Palmer House]] in Chicago (1938);<ref name="article8">''The Los Angeles Examiner'', October 9, 1938, p. 1</ref> the [[Stevens Hotel]] in Chicago (1938);<ref>[https://www.google.com/search?q=John+Serry+AFM&rlz=1C1CHBF_enUS984US989&ei=aTndY8OuEpCj5NoP7qOp4Ao&ved=0ahUKEwiDh5zq5fn8AhWQEVkFHe5RCqwQ4dUDCBA&oq=John+Serry+AFM&gs_lcp=Cgxnd3Mtd2l6LXNlcnAQDDIFCCEQoAEyBQghEKABMgUIIRCgAToICAAQogQQsAM6BQghEKsCSgUIPBIBMUoECEEYAUoECEYYAFDpCFiKDmDuHWgBcAB4AIABY4gBjQKSAQEzmAEAoAEByAEEwAEB&sclient=gws-wiz-serp#ip=1 ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry in concert at the Stevens Hotel. See the link on this page to "EmPO – World Radio History" at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref> the Biltmore Hotel in Los Angeles (1938);<ref name="article8" /> [[Carnegie Hall]] with [[Alfredo Antonini]] conducting (1946);<ref name="article5">''The New York Times'', May 12, 1946, p. 42</ref> the [[Plaza Hotel]] (1940s); [[The Town Hall (New York City)|The Town Hall]] (1941–1942);<ref name="The Nation 1942">''The Nation'', March 7, 1942, Vol. 154, #10</ref><ref name="article2">[https://query.nytimes.com/gst/abstract.html?res=9C0CE2D7113BE33BBC4953DFB5668389659EDE&legacy=true "Diseuse in Debut Here"]. ''[[The New York Times]]'', March 1, 1942, p. 36</ref><ref name="article3">''The New York Times'', May 28, 1941, p. 32</ref> the Waldorf Astoria Hotel's Wedgewood Room (1948),<ref name="google.com">[https://www.google.com/search?q=Mischa+Borr+John+Serry&sca_esv=577452161&tbm=bks&ei=eR49ZfOGKdPx0PEP-eG_yA0&ved=0ahUKEwizp5DS_ZiCAxXTODQIHfnwD9kQ4dUDCAk&uact=5&oq=Mischa+Borr+John+Serry&gs_lp=Eg1nd3Mtd2l6LWJvb2tzIhZNaXNjaGEgQm9yciBKb2huIFNlcnJ5SLYgUJYIWOYccAB4AJABAJgBhgGgAbUKqgEEMC4xMrgBA8gBAPgBAcICBRAhGKsCiAYB&sclient=gws-wiz-books "Accordion World" Gerstner Publications, 1948 Vo. 14 p. 6 John Serry accordioinst with the Mischa Borr Orcehstra at the Waldorf Astoria Hotel on Google Books]</ref> The [[Rajah Theatre]] (1953),<ref name="ArAAAAIBAJ p. 38">[https://books.google.com/books?id=ihArAAAAIBAJ&dq=%22John+Serry&pg=PA38&article_id=3456,1341936 "Current Attratcions: Theatre Timetable: Rajah Accordion Concert: featuring John Serry"] Reading Eagle, May 3, 1953 p. 38 on Books Google</ref> the [[Ed Sullivan Theater]] (1959) for CBS television; the [[Empire Theatre (41st Street)|Empire Theater (New York)]] (1953);<ref name="article12">''New York Journal-American'' (see the photograph of Serry's signature inscribed with signatures of other members of the cast on the stage door of the Empire Theatre at the closing of the play ''[[The Time of the Cuckoo]]''), May 25, 1953, p. 15</ref> and such New York [[cafe society]] nightspots as: [[El Morocco]], El Chico and The Riviera in the 1930s. During the course of these performances he appeared under the musical direction of several noted conductors including: [[Alfredo Antonini]], Mischa Borr, [[Percy Faith]], [[Shep Fields]], [[Mitch Miller]]<ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See the album cover's credits for performers including John Serry "who has worked under such eminent conductors as Alfredo Antonini, Mitch Miller and Shep Fields''. Phonograph album photographed on Discogs.com]</ref> and [[Andre Kostelanetz]].<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry toured the United States with Shep Fields' Orchestra..and appeared under the direction of Andre Kostelanetz, Percy Faith and Alfredo Antonini and others" on archive.org]</ref><ref>[https://www.google.com/search?q=Mischa+Borr+John+Serry&sca_esv=577452161&tbm=bks&ei=eR49ZfOGKdPx0PEP-eG_yA0&ved=0ahUKEwizp5DS_ZiCAxXTODQIHfnwD9kQ4dUDCAk&uact=5&oq=Mischa+Borr+John+Serry&gs_lp=Eg1nd3Mtd2l6LWJvb2tzIhZNaXNjaGEgQm9yciBKb2huIFNlcnJ5SLYgUJYIWOYccAB4AJABAJgBhgGgAbUKqgEEMC4xMrgBA8gBAPgBAcICBRAhGKsCiAYB&sclient=gws-wiz-books "Accordion World" Gerstner Publications 1948 Vo. 14 p. 6 John Serry accordioinst with the Mischa Borr Orcehstra at the Waldorf Astoria Hotel on Google Books]</ref><ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See album cover for the performers' credits including: "John Serry who has worked under such eminent conductors as Alfredo Antonini, Mitch Miller and Shep Fields". Phonograph of album cover as photographed on Discogs.com]</ref>

[[File:Carnegie-hall-isaac-stern.jpg|thumb|upright=.70|left|[[Carnegie Hall]]]]
Serry was born John Serrapica in [[Brooklyn]], New York to Pasquale Serrapica and Anna Balestrieri,<ref name="auto6"/> the fourth-born of thirteen siblings.<ref>[https://www.archives.com/1940-census/john-serrapica-ny-65186289?FirstName=John&LastName=Serrapica&Location=NY&folderImageSeq=724 John Serrapica (son of Pasquale & Anna Serrapica) and his siblings: Louis, Carmela, Silvie, Ida, Nancy, Romeo, Julio, Rose, in the US Census of 1940, Kings County, NY on archives.com]</ref><ref>[https://www.archives.com/1940-census/benito-serrapica-ny-65186297?FirstName=Ben&LastName=Serrapica&Location=NY&folderImageSeq=724 Benito Serrapica (son of Pasquale & Anna Serrapica) and his siblings: Louis, John, Carmela, Silvie, Ida, Nancy, Romeo, Julio in the US Census of 1940 Kings County, NY on archives.com]</ref><ref>[https://www.archives.com/1940-census/madeline-serrapica-ny-65186298 Madeline Serrapic (daughter of Pasquale & Anna Serrapica) and her siblings: Louis, John, Carmela, Silvie, Ida, Nancy, Romeo, Julio in the US Census of 1940 Kings County, NY on archives.com]</ref><ref>[https://dp.la/item/28119e73c177c00a88569c6859f9d61e?q=Serrapica%2C+Pasquale Enrollment of Pasquale and Anna Serrapicia and their children: Vincent, Louis, Adolf, John, Carmela, Sylvia, Ida listed on lines #33-41 in the Records of the Bureau of the Census – 1920 Population – Kings County, New York, National Archives No. 91851107 in the National Archives Catalog at https://catalog.archives.gov/id/91851107]</ref> His Italian father immigrated to America from [[Gragnano]], Italy after passing through Ellis Island in 1904 and 1914.<ref>[https://heritage.statueofliberty.org/passenger-result The Statue of Liberty – Ellis Island Foundation – Passenger Search – Pasquale Serrapica on heritage.statueofliberty.org]</ref><ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. the original family name Serrapica is from Gragnano, Italy on jazz.com]</ref> The family owned a grocery store after initially moving to Navy Street in 1905,<ref>[https://books.google.com/books?id=_fGBsabZJoYC&dq=Serrapica+Grocery+Brooklyn%2C+NY&pg=PA2518 "New York Court of Appeals, Records and Briefs 1919 City of New York p. 840, Entry # 2519 – Sworn testimony under oath in 1919 by Pasquale Serrapica that he is an Italian owner of a grocery store on Navy Street in Brooklyn, NY where he has lived for fourteen years- on Books Google.com]</ref> and subsequently taking up residence on 18th Avenue in the [[Bensonhurst]] section.<ref>[https://www.archives.com/1940-census/record?UniqueId=12888151:2442:892 United States Census 1940: John Serrapica & family members residing on 18th Avenue, Brooklyn, NY on archives.com]</ref> His formal musical education included studies with the accordionist Joseph Rossi from 1926 to 1929 at the [[Pietro Deiro]] School in New York. At the age of fifeteen he performed live on the Italian radio station WCDA.<ref>{{cite news |id={{ProQuest|98745168}} |title=Today on the Radio |url=https://www.nytimes.com/1930/12/02/archives/today-on-the-radio.html |work=The New York Times |date=2 December 1930 }}</ref> By the age of nineteen, Serrapica was already enrolled as a member of the [[American Federation of Musicians]] in 1934.<ref name="Serrapica p. 398">[https://books.google.com/books?id=zvO4JsTZB8oC&q=John+Serrapica Directory and Instrumentation: Local #802 American federation of Musicians, Associated Musicians of Greater New York. Publisher: American Federation of Musicians- Local 802, New York 1934 p. 398 John Serrapica on Google.com/books]</ref> In addition, he undertook studies in piano and harmony with Albert Rizzi from 1929 to 1932 and in harmony and counterpoint with Gene Von Hallberg for two years.<ref name="article10">"Biography", ''Accordion World'', March 1946, Vol. 11, #11, p. 3</ref> Von Hallberg served as a cofounder of the [[American Accordionists Association]] in 1938.<ref>[http://www.ameraccord.com/2018graphics/AAA-Formation.htm "American Accordionists' Association" Photograph of founding members includes Gene Von Hallburg and Joe Biviano March 9, 1938 on ameraccord.com]</ref> Hallberg later appeared in the Magnante Quartet before an audience of three thousand concertgoers at Carnegie Hall in 1939 <ref>[https://www.ksanti.net/free-reed/essays/cheered.html ''The Free Reed journal'' – "1939 Magnante Concert at Carnegie Hall Part 3 -As Thousands Cherred" reprinted from ''Accordionin World'', New York, NY, May 1939. Gene Von Hallberg & the Charles Magnante Quartet: Abe Goldman &Joe Biviano at Carnegie Hall, 1939 on www.ksanti.net]</ref><ref>[https://books.google.com/books?id=eTJEAQAAIAAJ&dq=Charles+Magnante+Carnegie+Hall+1939&pg=PA84 ''The Musician'' – "Thumbnail Reviews – New York Recitals in Retrospect--Carnegie Hall -review of the Charles Magnanate Quartet with Gene Von Hallberg at Carnegie Hall, May 1939 p. 84 on Google Books]</ref> A lifelong friendship with the accordionist Louis Del Monte was established as a result of these studies. Del Monte awakened Serry's interest in Latin American music.<ref name="article10"/> Advanced studies in harmony and orchestration were completed under the instruction of the composer [[Robert Strassburg]] in the 1940s.

==Career==
=== The 1930s: The big band era ===
[[File:Rainbow room.jpg|thumb|upright=.90|right|[[Rainbow Room]] in Rockefeller Center, New York City]]
The period from 1938 to 1960 has been described as a unique period of prestige for the accordion in the United States when it attained more widespread acceptance by the public as a "serious instrument" on the concert hall stage.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Magnante+Accordion+Quartet&pg=PA50 "Squeeze This: A Cultural History of the Accordion in America". Jacobson, Marion. University of Illinois Press, 2012, p. 50-51 (Chapter Two: ''SqueezeBox Bach: The Classical Accordion'') on google.com/books]</ref><ref name=Jacobson2007>{{cite journal |last1=Jacobson |first1=Marion S. |title=Searching for Rockordion: The Changing Image of the Accordion in America |journal=American Music |date=2007 |volume=25 |issue=2 |pages=216–247 |doi=10.2307/40071656 |jstor=40071656 }}</ref> At the age of sixteen, Serrapica had already performed as a soloist on the AM radio station [[WADO|WOV]] in New York City during several live broadcasts in 1931.<ref>{{cite news |id={{ProQuest|99529553}} |title=Today on the Radio |url=https://www.nytimes.com/1931/01/06/archives/today-on-the-radio.html |work=The New York Times |date=6 January 1931 }}</ref><ref>{{cite news |id={{ProQuest|99511360}} |title=Today on the Radio |url=https://www.nytimes.com/1931/01/15/archives/today-on-the-radio.html |work=The New York Times |date=15 January 1931 }}</ref><ref>{{cite news |id={{ProQuest|99509304}} |title=Today on the Radio; OUTSTANDING EVENTS ON THE AIR TODAY |url=https://www.nytimes.com/1931/01/22/archives/today-on-the-radio-outstanding-events-on-the-air-today.html |work=The New York Times |date=22 January 1931 }}</ref> With the help of Del Monte, in the 1930s Serry continued his professional career by making appearances with the Ralph Gomez Tango Orchestra at [[The Rainbow Room]] at the RCA Building in Rockefeller Center,<ref name="article9">''Accordion News'', March, 1935</ref> leading to an extended engagement there in 1935.<ref name="article9" /> He also played with the Hugo Mariani Tango Orchestra at the Waldorf Astoria Hotel in New York <ref name="article10"/> and once again in Chicago with Frank Pruslin and Syd Fox (1936)<ref>[https://books.google.com/books?id=LJ5peQ2vYrgC&q=John+Serry+Copyright Accordion News Vols. 5-6 Louis Siquier. 1936 p. 4 "John Serry Frank Pruslin and Sy Fox with...Hugo mariani Orchestra ...at Chicago". John Serry Copyright on Google Books]</ref> and with Alfred Brito, a Cuban orchestra leader in New York (1936), and Misha Borr, conductor of the [[Waldorf-Astoria Orchestra]].<ref name="article10" /> He appeared as a soloist for society functions at the Waldorf Astoria Hotel's Waldorf Towers and at its Starlight Roof with the Lester Lanin Orchestra. In addition, he performed regularly at clubs such as [[El Morocco]], the Rainbow Room, El Chico, and the Riviera in New York City.<ref name="article9"/>

The "golden age of the accordion" continued to evolve in America from 1910 to 1960 and some piano accordionists suddenly enjoyed acceptance as performers within the best known dance bands, jazz ensembles and big band ensembles such as the [[Paul Whiteman]] orchestra.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=Paul%20Whiteman ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 p. 124 Paul Whiteman featured the accordion on Google Books.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – accordionists gain acceptance in dance bands, jazz ensembles and big bands on GoogleBooks.com]</ref> As the decade came to a close, Serry acquired a position with the jazz ensemble [[Shep Fields and His Rippling Rhythm]] during a nationwide tour which included live radio broadcasts from the Palmer House Hotel in Chicago, Illinois, and the Millennium Biltmore Hotel in Los Angeles, California, over the NBC network (1937–1938).<ref name="article8" /><ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' by John Serry: "John Serry...toured the United States with Shep Fields' Orchestra" – See the album on archive.org]</ref> These [[big band remote]] broadcasts used Zenith's Radiogran technology. In 1937, he also recorded the distinctive Shep Fields' theme song with the Shep Fields Rippling Rhythm Orchestra for [[Eli Oberstein]] on RCA Victor's Bluebird label (Victor, BS-017494, 1937).<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200030373/BS-017494-Shep_Fields_theme_song_recorded_for_Mr.Oberstein "Shep Fields Theme Song recorded for Mr. Oberstein / Shep Fields Rippling Rhythm Orchestra" – John Serry (instrumentalist accordion) on the Discography of American Historical Recordings]</ref> His performances as a member of the orchestra are also documented in the film ''[[The Big Broadcast of 1938]]'' ("This Little Ripple Had Rhythm" and "[[Thanks for the Memory]]"), which won the Academy Award for Best Original Song in 1939. While touring with Shep Fields, he also recorded several popular songs of the time for Bluebird Records, including "[[With a Smile and a Song (song)|With a Smile and a Song]]", "[[Whistle While You Work]]", and "[[Now It Can Be Told]]".<ref name="Rust1975">{{cite book |last1=Rust |first1=Brian |title=The American Dance Band Discography 1917-1942: Irving Aaronson to Arthur Lange |date=1975 |publisher=Arlington House |isbn=978-0-87000-248-9 |pages=516–517 }}</ref><ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=100000 "Discography of American Historical Recordings" – John Serry on adp.library.ucsb.edu]</ref>

At the young age of only 23 in 1938, Serry was already collaborating on stage with several noted accordionists of the early 20th century including: Andy Arcari, Anthony Mecca, Domenic Mecca, [[Pietro Deiro]] and Joe Biviano.<ref>[https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry, Andy Arcari, Anthony Mecca, Domenic Mecca, Pietro Deiro and Joe Biviano in concert at the Stevens Hotel. Google search for "John Serry AFM" and click on "EmPo- World Radio History" or See the link on this page at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref><ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=Joe%20biviano ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 p. 124 Pietro Deiro & Joe Biviano: virtuoso accordionists of the decade following the mid 1920s on Google Books.com]</ref> The six accordionists joined forces at the north ballroom of the legendary [[Stevens Hotel]] in Chicago for an "Accordion Jamfest" before an audience of over 1000 concertgoers in September 1938.<ref>[https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry, Andy Arcari, Anthony Mecca, Domenic Mecca, Pietro Deiro and Joe Biviano in concert at the Stevens Hotel. Google search for "John Serry AFM" and click on "EmPo- World Radio History" or See the link on this page to at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref> The concert occurred soon after Andy Arcari's noted accordion recital at Philadelphia's Academy of Music in May 1938, where critics praise him for his brilliance.<ref>[https://content.time.com/time/subscriber/article/0,33009,882997,00.html ''Time'' – "Music: Accordionist" Andy Arcari in recital at the Philadelphia Academy of Music in May 1938 on content.time.com]</ref> In a few short months both Biviano and the Mecca brothers would appear with Charles Magnante, Gene Von Hallberg and Abe Goldman to introduce the accordion in recital for the first time to an audience of classical music concertgoers in Carnegie Hall (April, 1939).<ref>[https://books.google.com/books?id=eTJEAQAAIAAJ&dq=Charles+Magnante+Carnegie+Hall+1939&pg=PA84 ''The Musician'' – "Thumbnail Reviews – New York Recitals in Retrospect--Carnegie Hall -review of the Charles Magnanate Quartet with Gene Von Hallberg, Abe Goldman, Anthony Mecca, Domenic Mecca, Joe Biviano at Carnegie Hall, May 1939 p. 84 on Google Books]</ref><ref>[https://www.ksanti.net/free-reed/essays/cheered.html ''The Free-Reed Journal'' – "1939 Magnante Concert at Carnegie Hall: Part 3 As thousands Cheered" -Mganante, Biviano, Anthony Mecca, Domenic Mecca, Gene Von Hallberg, Abe Goldman in the first accordion recital held at Carnegie Hall on 4/18/1939 on ksanti.net/free-reed/essays/cheered.html]</ref><ref>{{cite book | last=Jacobson | first=Marion S. | title=Squeeze this! : a cultural history of the accordion in America | publisher=University of Illinois Press | publication-place=Urbana | date=2012 | isbn=978-0-252-03675-0 | oclc=826684860 | chapter = Squeezebox Bach-The Classical Accordion}}</ref>

=== The 1940s: The golden age of radio ===
Serry married Julia Trafficante in the 1940s and moved to [[Nassau County, New York]] on Long Island to raise a family of four children which included [[John Serry Jr.]]<ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. one of four children raised by John and Julia Serry on jazz.com]</ref> The original family name of Serrapica was anglicized by John to Serry.<ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. – the family name of Serrapica was shortened by John Serry Sr to Serry on jazz.com]</ref> He simultaneously undertook private studies with: Joscha Zade in piano (1945–1946); Arthur Guttow, an organist at the [[Radio City Music Hall]] (1946);<ref>''The New York Times'', November 18, 1945, p. 50</ref> and [[Robert Strassburg]] in Orchestration and Advanced Harmony (1948–1950). He specialized in the works of [[Gershwin]], [[Debussy]], and [[Ravel]].<ref name="article11">"Who Is Who In Music International 1958", ''Who Is Who In Music International'', Chicago, IL. Biographical File # B11719. See [[International Biographical Center]], Cambridge, England as current publisher.</ref>
[[File:Ny-town-hall.jpg|thumb|upright=.85|left|[[The Town Hall (New York City)|Town Hall]] in New York City]]
During the 1930s and 1940s many accordionists emerged as performers on American radio, the new mass entertainment medium of the time.<ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 3 Accordion performers on the radio: Charles Magnante on Google Books]</ref> Building upon his concert experiences of the 1930s, Serry entered the golden age of radio performing on the CBS radio network and assisted several concert artists in New York City including the French diseuse [[Marianne Oswald]] (aka Marianne Lorraine) in her English speaking debut of "One Woman Theatre" performing the poem ''Mr. Lincoln and His Gloves'' (by [[Carl Sandburg]]), ''Never Before'' (by [[Archibald MacLeish]]) and poems by [[Jean Cocteau]] and [[Jacques Prevert]] at Town Hall (1942).<ref>[https://archive.today/20070814110438/http://www.thenation.com/archive/detail/13485324 "Marianne Lorraine" performs at Town Hall", ''The Nation'', March 7, 1942, p. 10 on archive.ph]</ref><ref name="article2" /><ref name="DISEUSE IN DEBUT HERE">{{cite news |id={{ProQuest|106170249}} |title=DISEUSE IN DEBUT HERE; Marianne Lorraine Presents 'One Woman Theatre' at Town Hall |url=https://www.nytimes.com/1942/03/01/archives/diseuse-in-debut-here-marianne-lorraine-presents-one-woman-theatre.html |work=The New York Times |date=1 March 1942 }}</ref> The concert was hosted by the Free World Association and presented with the patronage of [[Eleanor Roosevelt]] .<ref>[https://www.google.com/search?q=Free+World+Association+Eleanor+Roosevelt+Feb.+1942&tbm=bks&ei=OwC3Y7bnGrfKytMP5fypyA8&start=10&sa=N&ved=2ahUKEwj28Kv68bD8AhU3pXIEHWV-CvkQ8NMDegQIDxAW&biw=1920&bih=937&dpr=1 ''Free World'' Vol. 2 p. 94 "The Free world Association presents Marianne Oswald...John Serry accordionist...Patroness Mrs. Franklin D. Roosevelt" – Free World Association Eleanor Roosevelt Feb. 1942 on Google Books]</ref><ref>[https://www.google.com/search?q=Free+World+Association+Marianne+Oswald+1942&biw=1034&bih=844&tbm=bks&ei=zAS3Y6_IOviEytMPod2o8A4&ved=0ahUKEwiv3oGo9rD8AhV4gnIEHaEuCu44FBDh1QMICQ&uact=5&oq=Free+World+Association+Marianne+Oswald+1942&gs_lcp=Cg1nd3Mtd2l6LWJvb2tzEANQmgdYqDpg-EJoBnAAeACAAc8DiAGTC5IBBjIxLjQtMZgBAKABAcABAQ&sclient=gws-wiz-books ''Free World'' – A Monthly Magazine devoted to Democracy, p. 94 "The Free World Association presents...Marianne Oswald...John Serry accordionist...Town Hall, February28, 1942" Free World Association Marianne Oswald 1942 on Google Books]</ref> This performance was praised in ''The Players Magazine – National Journal of Educational Dramatics'' as a "fresh experience and intriguing in its uniqueness."<ref name="ReferenceD">[https://books.google.com/books?id=3WBCAQAAIAAJ&q=John+Serry "Players Magazine: The National Journal of Educational Dramatics...Vols 18-21" --Review of "Miss Lorraine's rendition of poems...against a background of music by distinguished contemporary musicians...John Serry on the accordion" on Books Google]</ref> ''The New York Times'' described it as being skillfully presented.<ref name="Players">{{cite book|title=The Players Magazine – National Journal of Educational Dramatics |url=https://books.google.com/books?id=vsJYAAAAMAAJ |access-date=25 July 2018 |volume=18–19 |year=1941|publisher=National Collegiate Players|page=25}}</ref><ref name="DISEUSE IN DEBUT HERE"/> For ten years Serry performed as an original member of [[Alfredo Antonini]]'s CBS Pan American Orchestra (1940–1949)<ref>{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (See the photograph showing Serry seated as the accordionist in the orchestra above the caption "The Latin-American artist Juan Arvizu with the CBS Pan American Orchestra conducted by Alfredo Antonini")</ref><ref>[https://www.google.com/search?q=CBS+Pan+American+Orchestra++A+Pictorial+History+of+Radio&biw=1600&bih=789&tbm=bks&ei=2YSjY_TjJPP-9AOtlrHQBA&ved=0ahUKEwi0tIXP3Yv8AhVzP30KHS1LDEoQ4dUDCAk&uact=5&oq=CBS+Pan+American+Orchestra++A+Pictorial+History+of+Radio&gs_lcp=Cg1nd3Mtd2l6LWJvb2tzEAM6BAghEApQAFjqSWDYTGgBcAB4AIABkQGIAawakgEENi4yNJgBAKABAcABAQ&sclient=gws-wiz-books "A Pictorial History of Radio" by Irving Settel Caption for the photograph of the CBS Pan American Orchestra with Juan Arvizu conducted by Alfredo Antonini on Page 146 on Books.Google]. Accessed December 29, 2022.</ref><ref name="article4">''The New York Times'', November 5, 1983, p. 34</ref><ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' by John Serry: "John Serry...appeared under the direction of Alfredo Antonini" – See the album on archive.org]</ref> on the ''[[Viva América]]'' program for the Department of State's [[Office of Inter-American Affairs]] (OCIAA) in support of its [[cultural diplomacy]] initiatives.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Photograph of John Serry accordionist on CBS' C de Las A program circa 1940s p. 3, Series 3, Collection Box 3, Item 1: The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref>
<ref name="Viva">{{cite web |last1=Goldin |first1=J. David |title=Copyright 2018, J. David Goldin |url=http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America |website=Radiogoldindex.com |access-date=July 25, 2018 |archive-date=February 6, 2012 |archive-url=https://web.archive.org/web/20120206070142/http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America |url-status=dead }}</ref><ref name="article10" /><ref name="article4" /><ref>''The New York Times'', June 9, 1946, p. 49</ref><ref name="auto10">{{cite book|url=https://books.google.com/books?id=Qx00pQIkclMC&pg=PA166 |title=Dissonant Divas in Chicana Music: The Limits of la Onda|first=Deborah R.|last=Vargas|date=November 26, 2018|publisher=University of Minnesota Press|page=166 |access-date=November 26, 2018 |via=Google Books|isbn=9780816673162}}</ref><ref name="books.google.com">Media Sound & Culture in Latin America & The Caribbean. Editors: Bronfman, Alejandra & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, 2012, p. 49; {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 Pan-Americanism & CBS & "Viva America" on Books.Google.com See pp. 48-49]</ref> He also worked with Antonini, Nestor Mesta Chayres and members of the [[New York Philharmonic]] in the ''Night of the Americas Concert'' gala at Carnegie Hall in 1946.<ref name="article5" /><ref>{{cite web|url=https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to=|title=New York Philharmonic|access-date=December 29, 2022|website=archives.nyphil.org}}</ref>

During this period, several international concert musicians also appeared on ''Viva America'' or recorded music with Antonini's Viva America Orchestra including:<ref>[https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 CBS Pan American Orchestra, Alfredo Antonini, Terig Tucci, Juan Arvizu, Nestor Chayres, Elsa Miranda, "Viva America" on Books.Google.com See p. 49]</ref> [[Terig Tucci]] (1942)<ref name="biog"/><ref>''The New York Times'', January 18, 1942, p. 27</ref><ref name="article6">''The New York Times'', January 17, 1942, p. 30</ref><ref>''The New York Times'', January 16, 1942, p. 19</ref><ref>''The New York Times'', January 14, 1942, p. 24</ref> [[Juan Arvizu]] (1940s);<ref>''The New York Times'', May 5, 1941, p. 32</ref> [[Nestor Mesta Chayres]] (1940s);<ref>''The New York Times'', April 23, 1944, p. X5</ref> [[Eva Garza]] (1940s);<ref>''The New York Times'', January 23, 1944, p. X9</ref><ref name="auto8"/> [[Elsa Miranda]] (1940s),<ref name="Media">{{cite book |editor1-last=Bronfman |editor1-first=Alejandra |editor2-last=Wood |editor2-first=Andrew Grant |title=Media, Sound, and Culture in Latin America and the Caribbean |date=2012 |publisher=University of Pittsburgh Press |location=Pittsburgh, PA |isbn=978-0-8229-6187-1 |page=49 |url=https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49}}</ref><ref name="Banana">{{cite magazine|magazine=Billboard|title=Banana E.T. Proves Good Eating for Elsa Miranda|url=https://books.google.com/books?id=YBgEAAAAMBAJ&pg=PT3 |access-date=July 25, 2018|date=February 2, 1946|pages=3–}}</ref><ref name="Bratkovich2014">{{cite book|last=Bratkovich|first=Colin|title=Just Remember This |url=https://books.google.com/books?id=5WwBBQAAQBAJ&pg=PA173 |access-date=July 25, 2018|date=May 8, 2014|publisher=Xlibris |isbn=978-1-4836-4519-3 |page=173}}</ref> [[Los Panchos]] Trio (1946),<ref>[https://books.google.com/books?id=ql_sDwAAQBAJ&dq=CBS+Pan+American+Orchestra+Alfredo+Antonini&pg=PT74 ''Beyond the Black and White TV: Asian and Latin American Spectacle in Cold War America''. Han, Benjamin M. Rutgers University Press, 2022 "Viva America" Edmund Chester and Los Panchos on Google Books]</ref><ref>[https://books.google.com/books?id=DBoEAAAAMBAJ&dq=Los+Panchos+trio+La+Palma&pg=PT28 The Billboard – Music Popularity Charts: Alfredo Antonini and his Viva America Orchestra record album with Los Panchos Trio (Pilotone 5067) November 16, 1946, p. 29 on books.google]</ref><ref>[https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995988?adppopup=true Photograph of Los Panchos Trio and Manolita Arriola on the Viva America Show 1946 on Getty Images]</ref> and [[Manolita Arriola|Manuolita Arriola]] (1946)<ref>[https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995940?adppopup=true Photograph of Manolita Arriola and Nestor Chayres for "Viva America" 1946 CBS on Getty Images]</ref> Under the supervision of [[Edmund Chester]], these performances were beamed over CBS' Network of the Americas ("La Cadena de las Americas") across the Latin America continent to over twenty countries<ref name="Qx00pQIkclMC p. 152-155">[https://books.google.com/books?id=Qx00pQIkclMC&q=ociaa&pg=PA166 OCIAA, CBS' Cadena de las Americas, Edmund Chester, Viva America, Office of War Information & Armed Forces Radio Service ''Dissonant Divas in Chicana Music the Limits of La Onda''. Vargas, Deborah. University of Minnesota Press, Minneapolis, MN, 2012 p. 152-155 on Google Books]</ref><ref>''Time'' – Radio: La Cadena, June 1, 1942 [http://content.time.com/time/subscriber/article/0,33009,790530-1,00.html William S. Paley, Edmund Chester, La Cadena de las Americas -CBS broadcast network to South America for news and cultural programs on Content.time.com]</ref> and rebroadcast by the United States Office of War Information and the United States Armed Forces Radio Service.<ref>{{cite book |url=https://books.google.com/books?id=L3WyZ9A4_XEC&pg=PA198 |title=The Directory of the Armed Forces Radio Service Series |first=Harry|last=Mackenzie |date=26 November 1999 |publisher=Greenwood Publishing Group|page=H 21|access-date=26 November 2018 |via=Google Books|isbn=9780313308123 }}</ref><ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&q=Viva+America&pg=PA198 ''The Directory of the Armed Forces Radio Service Series'' H-21 VIVA AMERICA on Google Book]</ref><ref name="Qx00pQIkclMC p. 152-155"/> Performances by members of Antonini's CBS Pan American Orchestra on ''Viva America'' have been credited with helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States in the 1940s.<ref name="auto9"/><ref name="auto8"/>

In addition, Serry also recorded examples of music unrelated to the bolero. During the 1940s he collaborated with the Mischa Borr Orchestra and the vocalist [[Sidor Belarsky]] to record several Russian and Ukrainian folk songs for Victor records including: "[[Dark Is the Night (Soviet song)|Dark Night]]" (Victor 26–5037, 1946) by [[Nikita Bogoslovsky]],<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005388/D6FB-2220-Dark_night Victor matrix D6FB-2220 Audio recording of "Dark Night" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "Hobo Song" (aka "Mother") (Victor 26–5036, 1946) by [[Valery Zhelobinsky]],<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005403/D6FB-2221-Hobo_song Victor Matrix D6FB-2221 Audio recording of "Hobo Song" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "By the Cradle" (Victor 26–5035, 1946),<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005390/D6FB-2222-By_the_cradle Victor Matrix D6FB-2222 Audio recording of "By the Cradle" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "Katusha" (Victor 26–5035, 1946) by [[Hy Zaret]]<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005391/D6FB-2223-Katusha Katusha Victor Matrix D6FB-2223 Audio recording of "By the Cradle" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref><ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 John Serry accordionist, Sidor Belarsky vocalist & Mischa Borr Orchestra recordings listed on The University of California Santa Barbara Library's Discography of American Historical Recordings]. Accessed December 29, 2022.</ref> In 1946 he also made a guest appearance as the "outstanding accordionist of the year" on [[Gordon Macrae]]'s ''Skyline Roof'' broadcast under the direction of [[Archie Bleyer]] on the WABC-CBS network and as a guest on the ''Danny O'Neil Show''.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Item 8 audio disc p. 18 in The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 4 Recordings: Item 9 p. 18, 12" audio disk of John Serry's guest appearance on the Danny O'Neil Show in the John J. Serry Sr. Collection archived at the University of Rochester Eastman School of music on esm.rochester.edu]</ref><ref name="otrrpedia.net">{{Cite web |url=http://otrrpedia.net/getprogram1.php?item=2485 |title=Gordon MacRae Show, the |access-date=March 8, 2017 |archive-url=https://web.archive.org/web/20170309071138/http://otrrpedia.net/getprogram1.php?item=2485 |archive-date=March 9, 2017 |url-status=dead }}</ref> By 1948, he also appeared in concert with Mischa Borr's Orchestra at the Waldorf Astoria Hotel's Wedgewood Room.<ref name="google.com"/>
{{external media|float=right|width=125px|image1=Photograph of John Serry on the CBS radio network circa 1940s in the John J. Serry Sr. Collection Archive. [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf '''Here on Esm.rochester.edu''']}}

Serry recorded his work "Leone Jump" as a member of the Biviano Accordion & Rhythm Sextette with [[Tony Mottola]] on guitar and Angelo Delleria on accordion for Sonora Records in 1945.<ref name="ReferenceA">{{cite web |url=https://archive.org/details/78_swing-low-sweet-chariot_joe-biviano-his-accordion-and-rhythm-sextette-john-serry_gbia0037324|title=Leone Jump; Swing Low, Sweet Chariot; The Jazz Me Blues; Nursery Rhymes |first1=his Accordion and Rhythm Sextette|last1=Joe Biviano|last2=Tom Delaney|last3=John Serry|access-date=November 26, 2018|website=Archive.org}}</ref><ref name="auto5">{{cite web|url=https://archive.org/details/mbid-47ec1899-c909-4d5f-b38c-4920df8f57d9|title=Accordion Capers|first=his Accordion and Rhythm Sextette |last=Joe Biviano|date=November 26, 2018|access-date=26 November 2018|website=Archive.org}}</ref><ref name="hubcap.clemson.edu">{{cite web|url=http://campber.people.clemson.edu/sonora.html |title=The Sonora Label|website=Campber.people.clemson.edu|access-date=November 26, 2018}}</ref><ref name="Inc.1946">{{cite magazine |title=Record Reviews |magazine=Billboard |url=https://books.google.com/books?id=9BkEAAAAMBAJ&pg=PA124 |date=April 27, 1946|page=124 |issn=0006-2510}}</ref> The album includes performances of "[[Little Brown Jug (song)|Little Brown Jug]]", "Golden Wedding", "[[Swing Low Sweet Chariot]]", "[[That's a Plenty]]", and "The Jazz Me Blues".<ref name="web.archive.org">{{cite web |url=http://www.classicjazzguitar.com/albums/artist_album.jsp?album=747|archive-url=https://web.archive.org/web/20021107052600/http://www.classicjazzguitar.com/albums/artist_album.jsp?album=747|archive-date=2002-11-07|title=Classic Jazz Guitar – Albums |date= November 7, 2002 |access-date=November 26, 2018 }}</ref><ref name="auto5"/> His composition "Fantasy in F" was completed during this decade in 1946.<ref name="Congress Copyright Office 1946, Pg. 153">The Library of Congress Copyright Office, ''Fantasy In F (Fantasia, Accordion, F Major)'', Composer John Serry, 1946, Copyright #EP7274 [https://archive.org/stream/catalogofcopyrig413libr#page/152/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 153]</ref> The critic Henry Doktorski has described it as a "novelty piece" and likened it to [[Zez Confrey]]'s composition "Dizzy Fingers".<ref>[https://www.ksanti.net/free-reed/reviews/ktrio.html ''The Free-Reed Review''- "CD Review: The K Trio" by Henry Doktowski – "Fantasy in F" by John Serry likened to Zez Confrey's "Dizzy Fingers" on ksanti.net]</ref> In 1946 he also appeared in the "Accordion World" concert at Manhattan Center with the accordionists Angello Dellairia and Joeseph Biviano.<ref>[https://www.google.com/search?q=John+Serry+accordion&tbm=bks&ei=BhTYY5TNCser0PEPkb-UgAw&start=30&sa=N&ved=2ahUKEwiU6Ky8_e_8AhXHFTQIHZEfBcA4FBDw0wN6BAgPEBs&biw=1553&bih=789&dpr=1 ''The Music Magazine/Musical Courier'' Volumes 133-134 1946 p. 34 Acordion World Concert at Manhattan Center...Joe Biviano, Angelo Dellairia, John Serry accordionists on Google Books]</ref> Later in 1949, the accordionist Joe Biviano collaborated with the RCA Victor Accordion Orchestra to record Serry's composition "Manhattan Hop" for RCA Victor.<ref name="BNF">{{cite web |title=BnF Catalogue général |url=http://catalogue.bnf.fr/ark:/12148/cb38585245q |website=Catalogue.bnf.fr |access-date=25 July 2018 |language=fr}}</ref><ref name=Archive.org>{{cite web |url =https://archive.org/details/78_manhattan-hop_joe-biviano-rca-victor-accordion-orchestra-john-serry_gbia0250375b |title = Manhattan Hop by Joe Biviano, RCA Victor Accordion Orchestra (20-3388-B), John Serry|access-date=8 December 2021|website=Archive.org}}</ref> He also recorded several popular songs for Victor Records as a member of the noted [[Charles Magnante]] Accordion Band in 1941 including: "Clarinete Polka", '"Halli-Hallo- Halli", "Le Secret" and "Swing Me A Polka".<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John John Serry (aka John Serrapica) as a member of the Magnante Accordion Band on the University of California – Santa Barbara Library's: Discography of American Historical Recordings at adp.library.ucsb.edu]. Accessed December 29, 2022.</ref> Both Magnante and Biviano were cofounders of the American Accordionists' Association several years earlier in 1938.<ref>[http://www.ameraccord.com/2018graphics/AAA-Formation.htm "American Accordionists' Association" Photograph of founding members including Charles Magnante and Joe Biviano], March 9, 1938 on ameraccord.com</ref><ref>[https://books.google.com/books?id=0Rjn2wL0NzMC&dq=American+Accordionists+Association&pg=PA169 ''The Accordion of the Americas: Klezmer, Polka, Tango, Zydeco and More!''] Simonett, Helena. University of Illinois Press 2012 p. 169 {{ISBN|9780252037207}} Citation for Charles Magnanate and Joe Biviano identified as cofounders of the American Accordionists' Association (1939) on Google Books</ref>

By the end of the 1930s an "accordion craze" had swept the nation.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=accordion ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 pp. 124-125 Accordion craze nationwide on Google Books.com]</ref> Numerous accordion studios soon emerged within the major ethnic population centers of the East coast, as well as within the rural South and West with an estimated enrollment of over 35,000 students in 1938.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=accordion ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 pp. 124-125 Accordion craze and accordion studio enrollments soar on Google Books.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – accordion schools appear nationwide enrolling hundreds of thousands of young students on GoogleBooks.com]</ref> As an educator, Serry founded and operated a music studio in Jamaica, Queens in New York City<ref>[http://www.accordionusa.com/?d=01-Mar-2017&lang=en#art2903 "Accordion USA"- ''A Boy and His Box'' by Joe De Clemente – John Serry identified as an accordion teacher in Jamaica, Queens in 1961] on accordionusa.com</ref> and Long Island, New York.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry...devoted himself to the teaching of his chosen instrument"] on archive.org</ref> Between 1945 and the late 1980s he provided instruction on accordion, piano, and organ.<ref name="biog">{{cite magazine|magazine=Accordion World|title=Biography |place=Bedford Hills, New York|date=March 1946 |volume=11 |issue=11 |page=3}}</ref><ref name="Gliding">{{cite news |title=Auricle is Gliding with Good Reviews |url=https://www.newspapers.com/newspage/136970688/ |access-date=25 July 2018 |work=Democrat and Chronicle |date=7 July 1978 |location=Rochester, New York |page=13}}</ref> His pupils included Anthony Ettore, president of the American Accordionist's Association,<ref>{{cite web |url=http://www.aamsaccordionfestival.com/2005/ettore.html |title=2005 Honoree – Tony Ettore |access-date=2011-07-07 |url-status=dead |archive-url=https://web.archive.org/web/20110707072342/http://www.aamsaccordionfestival.com/2005/ettore.html |archive-date=2011-07-07}}</ref> Michael Torello, a composer and accordionist<ref>[https://libraries.uta.edu/search?Bquery=Michael+Torello UTA Libraries: "Montclair State College School of Fine and Performing Arts Presents The American Society of University Composers Region II Conference" – Biography of Michael Torello – "he moved... to New York City where he studied the accordion with John Serry and later joined the staff at the Serry Studio", Publisher – Montclair State College, New Jersey, 21 February 1987 p. 17 on libraries.uta.edu]</ref><ref>[https://www.newspapers.com/article/bennington-banner/53218532/ Newspapers Ancestry: "Michael Torello" Obituary, Bennington Banner, Vermont, 7 September 1994 p. 16, " Mr. Torello was an accomplished musician of the contra bass, piano and accordion.... and staff accordionist with Serry Studios in Jamaica, NY", Michael Torello on Newspapers Ancestry]</ref> and [[Robert Davine]], an accordionist and educator at the Lamont School of Music at the University of Denver<ref name="Davine">{{cite web |title=Robert Davine: 1924–2001 |url=http://www.ksanti.net/free-reed/essays/davinetribute.html |website=Ksanti.net |access-date=July 25, 2018}}</ref> as well as his son John Serry Jr.<ref>[https://jazzbluesnews.com/2018/02/07/john-serry/ ''Interview with John Serry: Can Jazz be a creative progressive art form?'' February 7, 2018 John Serry Jr. identifies his father John Serry as his first instructor on the accordion at the age of 4-11 on jazzbluesnews.com]</ref><ref>[https://democratandchronicle.newspapers.com/search/#query=John+Serry+Jr. Democrate and Chronicle July 7, 1978 p. 13 John Serry Jr. (pianist) is the son of John Serry -an instructor of piano and accordion, studies accordion at the age of four with his father on democrateandchronicle.newspapers.com]</ref> During the 1950s one of his students, Roy Appey, emerged as the first prize winner in a performance competition hosted by the American Accordionists' Association.<ref>[http://www.ameraccord.com/search.php ''American Accordionists' Association Newsletter'': "AAA Competitions in the '50s", May-June 2020 p. 13 John Serry music studio on ameraccord.com/search.php]</ref> In addition, Serry was invited to contribute to the annual series of Master Accordion Classes and seminars sponsored by the American Accordionists Association in New York City in August 2000.<ref name="Accordion">{{cite web |title=Accordion Weekly News |url=http://www.accordions.com/index/squ/en_squ_00_05_19.shtml#o |website=Accordions.com |access-date=July 25, 2018 |date=May 19, 2000}}</ref>
He also published several method books for his elementary, intermediate, and advanced grade students between 1945 and 1955.<ref name="article10" /><ref name="worldcat.org">[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=1 ''John Serry's Accordion Method Book 3 Intermediate Course'' (1955) on worldcat.org]</ref><ref name="lccn.loc.gov">{{cite book|url=http://lccn.loc.gov/unk84127828|title=LC Catalog – Item Information (Full Record) |via=lccn.loc.gov |access-date=26 November 2018}}</ref> In addition, he took note of the limitations imposed by the [[Stradella bass system]] during performances of classical music. In an effort to circumvent these limitations, he designed and developed a working model of a [[free-bass system]] for the accordion during this decade. It incorporated dual keyboards for the soloist's left hand while incorporating two sets of reeds which were tuned in octaves. This gave the soloist access to a range of tones which exceeded three and one-half octaves.<ref name="Jacobson">{{cite book |last1=Jacobson |first1=Marion |title=Squeeze This!: A Cultural History of the Accordion in America |date=2012 |publisher=University of Illinois Press |location=Urbana, IL |isbn=978-0-252-03675-0 |page=61}}</ref><ref name=Jacobson2007/>

=== The 1950s: Broadway and television ===
[[File:Shubert Theatre NYC.jpg|thumb|upright=0.85|right|[[Shubert Theatre (New York City)|Shubert Theatre]] in New York City Shubert Theatre NYC]]
During the early days of network television in the 1950s, Serry performed at CBS as a staff member of the original CBS Orchestra (1949–1960)<ref name="article11" /> and an accompanist on several live network television programs including ''The Jackie Gleason Show'' in 1953,<ref name="article11" /> ''The Frank Sinatra Show'' in the 1950s,<ref name="article11" /> and on the prime time drama ''I Remember Mama'' in 1953 starring [[Peggy Wood]].<ref>{{cite web |url=http://www.classicthemes.com/50sTVThemes/themePages/mama.html |title=Mama|website=Classicthemes.com|access-date=26 November 2018}}</ref><ref name="article11" /> Following introductions by his young son Robert, he was also featured as a soloist on the talent show ''Live Like A Millionaire'' on the NBC radio network in 1951.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music: Sibley Music Library Special Collections – John J. Serry Sr. Collection Archive: Series 4 Recordings – Item #5, p. 18 Audio Recording of John Serry and his son Robert on the show ''Live Like A Millionaire''. October 22, 1951 the John J. Serry Sr. Collection on Google.com]</ref><ref>[https://books.google.com/books?id=MQTXjvYu8ugC&dq=Live+Like+A+Millionaire+Radio+Show&pg=PA50 Radio: A Complete Guide to the Industry. Richter, William A. P. Lang Publisher. 2006 p. 50 "Radio Talent Shows: Live Like A Millionaire" ISBN 0-8204-8834-8 Live Like A Millionaire Radio Show on google Books]</ref>

In 1951 he also arranged his compositions ''La Culebra'' and ''African Bolero'' for solo flute. He dedicated the scores to his close friend [[Julius Baker]], who subsequently performed them on a demo recording.<ref>[https://search.worldcat.org/title/937406214 "African Bolero", "Desert Rhumba" Musical Scores, Composer John Serry, Dedicatee Julius Baker. See John Serry on Worldcat.org]</ref><ref>[https://search.worldcat.org/title/937406215 "La Culebra" Musical Score, Composer John Serry, Dedicatee Julius Baker. See John Serry on worldcat.org]</ref><ref>{{cite web |url=http://library.juilliard.edu/search/o937406215 |title=See hand written dedication notes "written for and dedicated to my friend Julius Baker, 1951" on Page # 3 of the score |website=Library.juilliard.edu |access-date=26 November 2018}}</ref><ref>{{cite web |url=http://library.juilliard.edu/search/o937406214 |title=See handwritten dedication notes "written for and dedicated to my friend Julius Baker, 1951" on Page # 3 of the score|website=Library.juilliard.edu|access-date=26 November 2018}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 4- Item #6 p. 18, 10" audio disc recording of "Desert Rhumba" & "The Rattlesnake" (La Culebra)" composer John Serry, flautist Julie Baker" in the John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> In the same year, his photograph was featured within an article about the accordion which was published by the journal ''International Musician'' – the official publication of the [[International Federation of Musicians]],<ref>[https://worldradiohistory.com/Archive-All-Music/International-Musician/50s/International-Musician-1951-05.pdf ''International Musician'' – "Accordion Instrument Played with A Smile", Hope Stoddard, May 1951, p. 10-11 Contributing writers Charles Nunzio & Sergei Matsusewitch – Photograph of John Serry within the article published in the journal ''International Musician'' by the American Federation of Musicians posted on worldradiohistory.com]</ref> along with photographs of such noted accordionists as: Louis Del Monte, [[Pietro Frosini]], [[Anthony Galla-Rini]], Charles Magnante, Charles Nunzio, and [[Art Van Damme]].<ref>[https://worldradiohistory.com/Archive-All-Music/International-Musician/50s/International-Musician-1951-05.pdf ''International Musician'' – "Accordion Instrument Played with A Smile", Hope Stoddard, May 1951, p. 10-11 Contributing writers Charles Nunzio & Sergei Matsusewitch – Photographs of: Louis Del Monte, Pietro Frosini, Charles Nunzio, Charles Magnante , Anthony Galla-Rini, Art Van Damme within the article as published in the journal ''International Musician'' by the American Federation of Musicians posted on worldradiohistory.com]</ref> By 1953, he was also photographed by the Bell accordion company as one of several leading accordion artists along with [[Tony Lavelli]] and Vince Geraci.<ref>[https://books.google.com/books?id=DkefSLB2nucC&q=John+J.+Serry+accordionist PTM, Piano trade Publishing Vol. 50 1953 p. 46 John J. Serry accordionist on Google books]</ref>

During this time he also performed under the musical direction of [[Andre Kostelanetz]] at CBS.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' show "John Serry...appearing under the musical direction of Andre Kostelanetz" – See the album on archive.org]</ref> As the first accordionist in the Serry Sextette, he recorded his own arrangements of several popular melodies and classical themes for the [[RCA Thesaurus]] [[electrical transcriptions]]<ref name="Kenney2003">{{cite book|author=William Howland Kenney|title=Recorded Music in American Life: The Phonograph and Popular Memory, 1890–1945|url=https://books.google.com/books?id=Cvk_AP6LwUgC&pg=PA191|date=November 2003|publisher=Oxford University Press|isbn=978-0-19-517177-8|pages=191–}}</ref> catalog in 1954 <ref>[https://www.google.com/search?tbm=bks&q=RCA+Thesaurus+John+Serry Radio Daily-Television Daily. Publisher: Radio Daily Corporation 29 October 1954, p. 8 – "RCA Thesaurus cut a session of Latin-American music, polkas, and novelties with the John Serry Accordion Quartet", RCA Thesaurus John Serry on Google Books]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/ Eastman School of Music: Sibley Music Library: Ruth T. Watanabe Special Collections Dept.- "The John Serry Sr. Collection" – Items donated to the library for archive include an audio recording by the Serry Sextette and his Bel-Cordions for RCA Thesaurus on www.esm.rochester.edu]</ref> during [[Ben Selvin]]'s tenure as [[A & R]] Manager for RCA Victor.<ref>[https://books.google.com/books?id=OUUEAAAAMBAJ&dq=Ben+Selvin+Dot+Records&pg=PA17 The Billboard: "Selvin to Quit Peer for RCA" – Ben Selvin appointed as A & R Manager for RCA Victor Custom Records Division – Thesaurus Library, February 14, 1953 p. 17 on Google Books]</ref><ref>[https://books.google.com/books?id=V0UEAAAAMBAJ&dq=Ben+Selvin+Dot+Records&pg=PA3 The Billboard: "Friends Fete Ben Selvin As He Leaves Industry" – In 1953 he started his decade with RCA Victor, March 23, 1963 p. 3 & p. 6 on Google Books]</ref>
Performances on the radio also continued during this period and included: appearances as a member of the Magnante Accordion Quartet, on ''The Lucky Strike Hour'', ''Waltz Time'', and ''The American Melody Hour (1940s)''. He occasionally substituted for the quartet's founder [[Charles Magnante]].<ref name="article10" />

On the Broadway stage he performed under director [[Harold Clurman]] in a production of [[Arthur Laurents]] play ''[[The Time of the Cuckoo]]'' with [[Shirley Booth]] and [[Dino Di Luca]].<ref name="article12" /><ref name="OxErAAAAIBAJ 2350, p. 12">[https://books.google.com/books?id=OxErAAAAIBAJ&dq=%22John+Serry&pg=PA12&article_id=2350,124787 "Celebrating National Music Week – Accordion Concert" : John Serry – p. 12...appearing with award winner Shirly Booth in "Time of the Cuckoo" See photograph and caption of John Serry in the "Reading Eagle" April 19, 1953 p. 12 on Google Books]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection – Series 3: Scrapbook – contains a clipping with a photograph from the "New York Journal American" May 25, 1953 p. 15 showing the stage cast door from the Empire Theater with Shirley Booth pointing to signatures of the cast of "The Time of the Cuckoo" which includes John Serry's signatue. The John J. Serry Sr. Collection p. 17 Series 3 Scrapbook Box 3 Item 1 archived at the University of Rochester Eastman School of Music on esm.rochester.edu]</ref>
By 1953, he had also arranged music which was edited by [[Lawrence Welk]] and utilized in a course of study for the piano accordion by the U. S. School of Music,<ref>[https://books.google.com/books?id=yDkcAQAAMAAJ&q=John+Serry "Library of Congress- Music and Phonorecords Catalog 1953", p. 881 – "U. S. School of Music" – John Serry arranger, Lawrence Welk editor on google.com/books]</ref> which was described years later as the oldest home study music school chartered by the Board of Regents in New York State with a total worldwide enrollment of over one million students.<ref>[https://books.google.com/books?id=U1TWAAAAMAAJ&dq=U.S.+School+of+Music&pg=RA1-PA739 "Statement of George R. Kemp, President U.S. School of Music" -The United States Congress Senate Committee on Post Office and Civil Service – 1962 p. 739 on Google Books]</ref> The school also utilized his photograph to encourage enrollment in its course of study for the piano accordion.<ref>[https://books.google.com/books?id=r9gDAAAAMBAJ&dq=John+Serry+Popular+Mechanics&pg=PA37 "U. S. Music School – Music Lessons...From Fine Teachers....John Serry-piano accordion" on Google Books]</ref> In the same year, he appeared as a featured soloist at an accordion concert hosted at the [[Rajah Theatre]] in Reading, Pennsylvania.<ref name="ArAAAAIBAJ p. 38"/><ref name="OxErAAAAIBAJ 2350, p. 12"/> He also completed arrangements of popular songs for [[Seeburg Corporation|Seeburg]]'s jukeboxes featuring three accordions, violins, vibes, guitar, bass, percussion and piano. Included among them were: ''[[I Get a Kick Out of You]]'', ''[[Mimi (song)|Mimi]]'', ''[[The One I Love (Belongs to Somebody Else)|The One I Love]]'', ''[[Swingin' Down the Lane]]'', and ''[[Tico-Tico no Fuba|Tico-Tico]]''.<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 4- Folder 8 p. 14 as archived at the University of Rochester Eastman School of Music]</ref>

In 1956 Serry composed, arranged and performed several compositions for [[Dot Records]] (#DLP3024)<ref>[http://bsnpubs.com/dot/dotb.html "Dot Album Discography" DLP-3024 Squeeze Play – John Serry (1956) on bsnpubs.com]</ref> with [[Al Caiola]] and [[Bernie Leighton]] on his album ''[[Squeeze Play (album)|Squeeze Play]]'' <ref name="Inc.1956">{{cite magazine |title=Dot into Pkgs |magazine=Billboard |url=https://books.google.com/books?id=XkUEAAAAMBAJ&pg=PA22 |date=8 September 1956 |pages=22– |issn=0006-2510}}</ref><ref name="BillboardSqueezePlay">[https://books.google.com/books?id=hgoEAAAAMBAJ&pg=PA22 Review of album ''Squeeze Play'', p. 22] in ''[[Billboard (magazine)|The Billboard]]'', 1 December 1956</ref> during [[Billy Vaughn]]'s tenure as music director at Dot Records.<ref>Colin Larkin, ed. (2002). The Virgin Encyclopedia of Fifties Music (Third ed.). Virgin Books. pp. 466/7. {{ISBN|1-85227-937-0}}</ref><ref>[https://www.nytimes.com/1991/09/28/obituaries/billy-vaughn-is-dead-jazz-musician-was-72.html "Billy Vaughn is Dead; Jazz Musician was 72", New York Times Obituary -"Billy Vaughn was music director for Dot Records", September 28, 1991 on Google Books]</ref><ref>[https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/vaughn-billy "Billy Vaughn" Biography on encyclopedia.com]</ref><ref>{{Gilliland |url=https://archive.today/20120805065905/http://www.library.unt.edu/music/special-collections/john-gilliland/t-z |title=T-Z – Interview Index |show=6}}</ref><ref>[http://www.grandorchestras.com/bvaughn/bvaughn_biography.html ''Biography of Billy Vaughn'' : Vaughn becomes music director of Dot Records in 1954 on grandorchestras.com]</ref> The production received a critical review as a new popular album in ''[[The Billboard (magazine)|The Billboard]]'' in 1956 and was cited for establishing a beautiful soothing mood.<ref name="ReferenceB">{{cite web|url=https://books.google.com/books?id=hgoEAAAAMBAJ&pg=PA22|title=Billboard|date=December 1, 1956|page=22|via=Google Books}}</ref> The album was also critically reviewed in ''[[Cash Box (magazine)|Cash Box]]'' magazine later that year.<ref name="worldradiohistory.com">[https://worldradiohistory.com/Archive-All-Music/Cash-Box-Magazine.htm Review of the album "Squeeze Play" in "The Cash Box" magazine – See Album Reviews column on December 8, 1956 p. 38 on americanradiohistory.com]</ref> It features his original composition ''Garden In Monaco'' which is adapted from the theme of an ancient Italian serenade.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' describe Serry's oringinal composition ''Garden In Monaco'' – See the album on archive.org]</ref><ref>[https://repertoire.bmi.com/Search/Catalog?Num=ghzHg9frLPth31%252fUPAVsUA%253d%253d&Cae=NyKQPAHJlG6xdIfufIKvLw%253d%253d&Search=%7B%22Main_Search_Text%22%3A%22Garden%20In%20Monaco%22%2C%22Sub_Search_Text%22%3Anull%2C%22Main_Search%22%3A%22Title%22%2C%22Sub_Search%22%3Anull%2C%22Search_Type%22%3A%22all%22%2C%22View_Count%22%3A20%2C%22Page_Number%22%3A0%2C%22Part_Type%22%3Anull%2C%22Part_Id%22%3Anull%2C%22Part_Id_Sub%22%3Anull%2C%22Part_Name%22%3Anull%2C%22Part_Cae%22%3Anull%2C%22Original_Search%22%3Anull%2C%22DisclaimerViewed%22%3Anull%7D&PartType=WriterList&ResetPageNumber=True&PartIdSub=YO0HedHMatLb45JzS23DVw%253d%253d "Garden in Monaco"; composer John Serry on BMI Songview catalog]</ref> Serry was applauded for establishing a wide variety of musical moods with grace, while simultaneously emphasizing a relaxed performance style.<ref name="worldradiohistory.com"/> In 1958 several songs from the album were released once again in France by Versailles records (# 90 M 178) as ''Chicago Musette – John Serry et son Accordéon''.<ref>{{cite web |url=http://www.vintagemusic.fm/release/John-Serry/ |title=Chicago Musette, John Serry |website=Vintagemusic.fm |access-date=26 November 2018 }}</ref><ref name="catalogue.bnf.fr">{{cite web |url=http://catalogue.bnf.fr/ark:/12148/cb38048510x |title=BnF Catalogue général |date=26 November 2018 |website=Catalogue.bnf.fr |access-date=26 November 2018 }}</ref><ref name="auto3">{{cite web|url=https://www.youtube.com/channel/UCKBYJZCilTiv4cvUCDLFWJQ/videos?disable_polymer=1|title=John Serry – Topic|website=YouTube|access-date=26 November 2018}}</ref> Dot Records also released several songs from the album in Japan as part of a compilation recording including the John Serry Orchestra and the Billy Vaughn Orchestra (''Ballroom in Dreamland'', Dot #5006).<ref name="discogs.com">[https://www.discogs.com/release/15138716-Various-Ballroom-In-Dreamland Album: ''Ballroom in Dreamland'' featuring music by the Billy Vaughn Orchestra and the John Serry Orchestra on discogs.com]</ref><ref>[https://www.cdandlp.com/en/various/ballroom-in-dreamland/lp/r2412382082/ ''Ballroom in Dreamland'' – Audio album featuring performances by the Billy Vaughn Orchestra and John Serry on cdandlp.com]</ref> These activities led to Serry's nomination to the "Who Is Who In Music International" in 1958.<ref name="article11" />
His advanced grade composition for accordion, ''[[American Rhapsody]]'' was completed and published during 1955.<ref name="ReferenceE">Library of Congress Copyright Office, ''American Rhapsody'', Composer: John Serry Sr., Copyright: Alpha Music, New York, New York, 1957</ref>

===The 1960s: Liturgical organ music ===
In 1960, Serry emerged as a performer in one of the first stereo recordings of an accordion orchestra on a major label for [[Coral Records]] with such noted instrumentalists as: Joe Biviano, [[Carmen Carrozza]], Angelo Di Pippo and Eugene Ettore.<ref>[https://books.google.com/books?id=oiNtRleCw6wC&q=John+Serry Music Trades: "Accordion Orchestra Featured on New Coral 12" Record" Vol. 109, 1961 p. 84 John Serry on Google Books]</ref><ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See album cover for performers credits including John Serry, Eugene Ettore, Carmen Carrozza and Angelo Di Pippo. Pietro Deiro on Discogs.com]</ref><ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref><ref>[https://www.bsnpubs.com/decca/coral/coral.html The Coral Album Discography. Edwards, David. Callahan, Mike. Eyrles, Patrice. Watts, Randy. Neely, Timothy. April 27, 2014. CRL-57323 "Pietro Deiro Presents the Accordion Orchestra" (1960) on bsnpubs.com]</ref> The ensemble of sixteen accordionists utilized modified piano accordions to recreate the orchestral sounds of several instruments while performing classical works by: Rimsky-Korsakov, [[Carl Maria von Weber]], Nicolo Paganini and Pyotr Ilyich Tchaikovsky.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref><ref>[https://search.worldcat.org/title/36735352?oclcNum=36735352 "Pietro Deiro Presents the Piano Accordion" See album cover notes. on Worldcat.org]</ref><ref>[https://www.discogs.com/release/12006299-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra Pietro Deiro, Joe Biviano The Accordion Orchestra (Coral, CRL-57323) See credits on album. Audio recording on Discogs.com]</ref> The recording was cited in ''Billboard Magazine'' for its high level of musicality.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref>

Several years later, Serry completed his ''[[Concerto For Free Bass Accordion]]'' in 1966 and subsequently transcribed it for piano in 2002.<ref name="Congress Copyright Office 1968">The library of Congress Copyright Office, ''Concerto for Bassetti Accordion'', Composer: John Serry Sr., June 4, 1968, Copyright # EP 247602</ref><ref>{{cite web|url=https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=Serry&Search%5FCode=NALL&CNT=25&PID=qtoCDJJcISkF-Y5Tnolj9EU37&SEQ=20180726172131&SID=7 |title=The Library of Congress Copyright Office – Public Catalog 1978 – Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> As the decade of the 1960s unfolded, however, the general public's interest in the accordion began to diminish in the United States while the popularity of [[rock music]] continued to grow.<ref name=Jacobson2007/><ref name="TQPXAQAAQBAJ 2013, p. 3">[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – Accordion & rock and roll on GoogleBooks.com]</ref><ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 4 Accordion and rock and roll music on Google Books]</ref> The ensuing revolution in popular music induced many young people to view the accordion as a "square relic" from their parents' generation which should be replaced by the electric guitar, electric piano and electronic organ.<ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 4 "Accordion" – the accordion is seen as a square relic and replaced by the guitar during the 1960s on GoogleBooks.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – In the late 1950s young people reject the accordion as old fashioned & take up the electric guitar, electric piano and electronic organ on GoogleBooks.com]</ref> As a result, many established accordion studios either diversified or closed down entirely.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Accordion+music+in+the+United+States+after+the+1960%27s&pg=PA67 "Squeeze This: A Cultural History of the Accordion in America". Jacobson, Marion. University of Illinois Press, 2012, p. 67 on google.com/books]</ref><ref name="TQPXAQAAQBAJ 2013, p. 3"/>
[[File:C.W. Post College, Brookville, Long Island. LOC gsc.5a29157.tif|thumb|upright=.95|left|[[C.W. Post College]], Brookville, Long Island. LOC gsc.5a29157]]

With this in mind, Serry devoted the remaining thirty-five years of his professional career to the performance of [[wedding music]] and liturgical music of the Catholic and Jewish faiths as a freelance organist at the Interfaith Chapel of [[Long Island University C W Post Campus]] in Brookville, N.Y. (1968-2002).<ref>''The New York Times'', 21 June 1964, p. 84</ref><ref>''The New York Times'', 9 June 1965, p. 47</ref><ref>''The New York Times'', 14 June 1987, p. LI22</ref><ref>''The New York Times''14 June 1987, P. New York Region</ref><ref name="Mitchell">{{cite news |url=https://www.nytimes.com/1987/06/14/nyregion/interfaith-chapels-in-demand.html? |title=Interfaith Chapels in Demand |first=Ellen |last=Mitchell |work=The New York Times |date=14 June 1987 |access-date=26 November 2018}}</ref> As more rabbis sought to unite couples of different faiths without first requiring conversions in the 1960s and 1970s,<ref>[https://books.google.com/books?id=ewdRDwAAQBAJ&dq=Interfaith+marriages+in+the+1960%27s&pg=PA22 "Beyond Chrismukkah: the Christian-Jewish Interfaith Family". Mehta, Samira K., university of North Carolina Press, 2018, p. 22 on google.com/books]</ref> he collaborated with several clergymen of both the Jewish and Catholic religious traditions including: Rabbi Nathaniel Schwartz<ref name="Mitchell"/> and the Rev. John Heinlein<ref>[https://www.nytimes.com/1984/03/18/style/no-headline-058256.html Rabbi Nathaniel Schwart officiates at the C. W. Post Interfaith Chapel]</ref><ref>[https://www.nytimes.com/1983/11/06/style/ther-ese-o-hara-and-g-a-krebs-wed.html Rabbi Nathaniel Schwartz and Rev. John Heinlein officiate at the C. W. Post Interfaith Chapel]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection: Series 3, p. 6 – Scrapbook containing musical programs as archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

During this period, he also transcribed his composition ''Processional March'' (1951) from piano for use on the organ in 1968.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Processional March (1951, Revised for Organ 1968)" Folder 18 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> In the years which followed, he composed several additional liturgical works for the choir of Notre Dame Parish on Long Island including: ''A Savior Is Born'' (1991, organ and solo voice), ''The Lord's Prayer'' (1992, organ and chorus) and ''Lamb of God'' (1994, for choir, flute and brass).<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folders: 26, 27, 28, p. 12 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

Serry died after a brief illness on [[Long Island]], New York in 2003, age 88.<ref>''Allegro'', American Federation of Musicians, New York, January 2004, Vol CIV, [http://www.local802afm.org/publication_entry.cfm?XEntry=23736371 No. 1.] {{webarchive|url=https://web.archive.org/web/20060528201555/http://www.local802afm.org/publication_entry.cfm?xEntry=23736371 |date=2006-05-28 }}</ref> 

==Performance style==
Several of John Serry's early live performances and recordings were reviewed by critics in such noted magazines as ''[[The Billboard (magazine)|The Billboard]]'', ''[[Cash Box (magazine)|Cash Box]]'' and ''The Players Magazine – National Journal of Educational Dramatics''.<ref name="ReferenceB"/><ref name="worldradiohistory.com"/><ref name="ReferenceD"/> His recording with the Biviano Accordion and Rhythm Sextette for Sonora Records in 1945 (''Accordion Capers'') was reviewed by ''Billboard'' magazine, which noted that the music on the album was strictly for listening as opposed to dancing.<ref name="Inc.1946"/> While accompanying a dramatic vocalist he was cited for contributing to an intriguing and nuanced performance.<ref>{{cite web |url=https://books.google.com/books?id=vsJYAAAAMAAJ |title=Players |date=26 November 2018 |publisher=National Collegiate Players |access-date=26 November 2018 |via=Google Books}}</ref> His recording of Latin American music with the Alfredo Antonini Viva America Orchestra was described as "as amongst the most attractive" by critics at ''The New Records'' in 1946.<ref name="auto7">The New Records. ''Latin American Music – Alfredo Antonini and Viva America orchestra'' H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, P. 6-7 [https://archive.org/stream/TNR14/The%20New%20Records%20Vol%2014#page/n77/mode/2up/search/Alfredo+Antonini ''Latin American Music – Alfredo Antonini and Viva America Orchestra'' critical review of the album in ''The New Records'' P. 6-7 on archive.org]</ref> In addition, his recording of classical compositions by Rimsky-Korsakov, Nicolo Paganini. Carl Maria von Weber and Pyotr Ilyich Tchaikovsky as a member of Pietro Deiro's Accordion Orchestra was cited by critics in ''The Billboard'' for its high level musicality.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref> His musical arrangements were also cited for using the accordion to convey a variety of musical moods with easy-going grace intended for low-pressure listening.<ref name="worldradiohistory.com"/> Above all else, he was applauded on his album ''Squeeze Play'' for utilizing the accordion to establish a beautiful, relaxed and soothing mood while avoiding a more common type of "show-off" performance.<ref name="ReferenceB"/><ref name="worldradiohistory.com"/>

==Works==
=== Compositions and arrangements ===
{{ external media|width= 200px |audio1= You may hear John Serry Sr. performing his "Leone Jump" with the Joe Biviano Accordion Rhythm Sextette and [[Tony Mottola]] in 1945 [https://archive.org/details/78_leone-jump_joe-biviano-his-accordion-and-rhythm-sextette-john-serry_gbia0071954c '''Here on Archive.org''']}}

{{colbegin}}
His compositions include:
* ''Desert Rumba'' (for accordion, 1939; publisher Antobal Music, 1951)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Desert Rumba" score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Glissando'' (for accordion, publisher Biviano Music, 1942)<ref>The Library of Congress Copyright Office, ''Glissando'', Composer John Serry, 1946, Copyright #EP8078 [https://archive.org/stream/catalogofcopyrig413libr#page/178/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 179]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Glissando" score p. 9 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Tarantella'' (for accordion, 1942; publisher Alpha Music, 1955)<ref>{{cite web|access-date=20 July 2023|title=Tarantella by John Serry archived at Oxford University, London|url=https://www.worldcat.org/title/945114625|date=1946|website=worldcat.org}}</ref>
* ''Valse'' (Composer Pytor Ilych Tchaikovsky (Opus 39 No. 8), arr. for accordion, publisher Viccas Music, 1946)<ref>{{cite web|url=http://www.theeuropeanlibrary.org/tel4/record/2000033945149?query=John+Serry|title=Valse ... Arranged by John Serry. Accordion Solo|first=Peter Ilich|last=Tchaikovsky|date=1946|website=The europeanlibrary.org|access-date=26 November 2018}}</ref><ref>{{cite web|url=https://www.worldcat.org/title/1061651613|title=Valse...arranged by John Serry. Accordion Solo|first=Peter Ilich|last=Tchaikovsky|date=1946|website=worldcat.org|access-date=20 July 2023}}</ref>
* ''Fantasy in F'' (for accordion, publisher Viccas Music, 1946)<ref>[http://www.ksanti.net/free-reed/reviews/ktrio.html "CD Review: The K Trio Images"]. ''The Free-Reed Review'', Henry Doktorski</ref><ref name="Congress Copyright Office 1946, Pg. 153"/><ref>{{cite web|access-date=20 July 2023|date=1946|title=Fantasy in F by John Serry archived at Oxford University, London|url=https://www.worldcat.org/title/945114698|website=worldcat.org}}</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Fantasy in F" score p. 9, orchestral arrangement score p. 13 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Invitation to Jive'' (for three accordions, guitar and bass, 1946)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Invitation to Jive" score p. 8 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Consolation Waltz'' (for accordion, publisher O. Pagani & Bro., 1948)<ref>The Library of Congress Copyright Office, ''Consolation Waltz'',Composer John Serry, O.Pagani & Bro., New York, 29 November 1949, Copyright # EP58852 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref>
* ''Uncle Charlie's Polka'' (for accordion, publisher O. Pagani Bro., 1948)<ref>The Library of Congress Copyright Office, ''Uncle Charlie's Polka'',Composer John Serry, O. Pagani & Bro., New York, 29 November 1949, Copyright # EP58854 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref>
* ''The Bugle Polka'' (for accordion, publisher O. Pagani Bro., 1948)<ref>The Library of Congress Copyright Office, ''Bugle Polka'',Composer John Serry, O.Pagani Bro., New York, 29 November 1949 Copyright #EP5883 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref><ref>[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=11 ''The Bugle Polka'' by John Serry (1949) on Worldcat.org]</ref>
* ''Leone Jump'' (for accordion, publisher Pietro Deiro, 1956)<ref name="web.archive.org"/><ref>{{cite web |url=http://78discography.com/Sonora.htm|title=Sonora Records 78rpm numerical listing discography |website=78discography.com |access-date=26 November 2018}}</ref><ref>The Library of Congress Copyright Office, ''Leone Jump'', Composer John Serry, 1946, Copyright # EP8079 [https://archive.org/stream/catalogofcopyrig413libr#page/354/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 355]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Leona Jump" orchestral score for 3 accordions, bass, rhythmic guitar & electric guitar p. 8 John J. Serry Collection archived at the University of Rochester]</ref>
* ''La Culebra'' (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)<ref>The Library of Congress Copyright Office,''La Culebra'', Composer John Serry Sr., March 7, 1951, Copyright # EU 233726</ref><ref>{{cite web |url=https://www.worldcat.org/identities/viaf-218300692/|title=John Serry Sr. 1915 – 2003 La Culebra |website=Worldcat.org |access-date=26 November 2018}}</ref><ref>[http://library.juilliard.edu/search~S1?/m20.1+Se685af+BakerBxC07f16/m20.1+se685af+bakerbxc07f16/-3%2C-1%2C0%2CB/frameset&FF=m20.1+se685cu+bakerbxc07f17&1%2C1%2C ''La Culebra'' – Flute solo, composer John Serry & dedicated on the score as "written for and dedicated to my friend Julius Baker, 1951" in the Julius Baker Music Collection Archive on Julicat at library.juilliard.edu]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection ""La Culebra" acore p. 8 & p. 9 score John J. Serry Collection archived at the University of Rochester]</ref>
* ''African Bolero'' (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)<ref>The Library of Congress Copyright Office, African Bolero Composer: John Serry Sr., March 7, 1951, Copyright # EU 233725</ref><ref>{{cite web |url=https://www.worldcat.org/identities/viaf-218300692/|title=John Serry Sr. 1915 – 2003 – African Bolero |website=Worldcat.org |access-date=26 November 2018}}</ref><ref>[https://www.juilliard.edu/school/library-and-archives/special-collections#peter-jay-sharp-special-collections Peter Jay Sharp Special Collections – Julius Baker Collection]</ref><ref>[http://library.juilliard.edu/search~S1?/dJulius+Baker+Music+Collection+%28Juilliard+School.+Lila+Acheson+Wallace+Library%29/djulius+baker+music+collection+juilliard+school+lila+acheson+wallace+library/-3%2C-1%2C0%2CB/frameset&FF=djulius+baker+music+collection+juilliard+school+lila+acheson+wallace+library&11%2C%2C1637 ''African Bolero''] – Flute solo, composer John Serry & dedicated on the score as "written for and dedicated to my friend [[Julius Baker]], 1951", in the Julius Baker Music Collection Archive on Julicat at library.juilliard.edu</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "African Bolero" score p. 9 John J. Serry Collection archived at the University of Rochester]</ref>
* ''The Syncopated Accordionist'' (for accordion, publisher/editor Charles Colin, 1952)<ref name="loc.gov">{{cite book|url=http://lccn.loc.gov/unk84158102|title=LC Catalog – Item Information (Full Record)|via=lccn.loc.gov|access-date=26 November 2018}}</ref><ref>The Library of Congress Copyright Office, ''The Syncopated Accordionist'', Composer John Serry a.k.a. John Serrapica, Charles Colin, New York 2 March 1953, Copyright #EP69650 [https://archive.org/stream/catalogofcopyrig375li#page/256/mode/2up/search/Serry Catalog of Copyright Entries 1953 Published Music Jan-Dec, Vol 7, Pt 5A, Pg. 257]</ref><ref>[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=11 ''The Syncopated Accordionist: Studies in Syncopation'' (1953) by John Serry on Worldcat.org]</ref>
* ''The First Ten Lessons for Accordion'' (for accordion, publisher Alpha Music, 1952)
* ''Accordion Method Books I, II, III, IV'' (for accordion, publisher Alpha Music, 1953)<ref name="worldcat.org"/><ref>[https://reverb.com/item/65777650-used-piano-accordion-music-book-john-serry-s-accordion-method-book-1-2 "Accordion Method Book 1 & 2" by John Serry on reverb.com]</ref>
* ''Rhythm-Airs for Accordion'' (editor John Serry, publisher Charles Colin & Bugs Bower, 1953)<ref>The Library of Congress Copyright Office, ''Rhythm-airs for the Accordionist'' Charles Colin & Bigs Bower, editor John Serry, Charles Colin, New York Vol. 1-2, 2 March 1953, Copyright #EP69648-69649 [https://archive.org/stream/catalogofcopyrig375li#page/58/mode/2up/search/Serry Catalog of Copyright Entries 1953 Published Music Jan-Dec Vol 7, Pt 5a, Pg. 58]</ref>
* ''La Cinquantaine'' (m. Gabriel Marie, arr. accordion quartet, publisher Alpha Music, 1954)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Accordion Quartet Arrangements" score p. 13 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Allegro'' (m. Joseph Hayden, arr. accordion quartet, publisher Alpha Music, 1954)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Accordion Quartet Arrangements" score p. 13 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Top Ten Accordion Solos – Easy to Play'' (editor: John Serrapica, publisher Alpha Music, 1954)<ref name="lccn.loc.gov"/><ref>The Library of Congress Copyright Office, ''Top Ten Accordion Solos – Easy To Play'', Publisher Broadcaste Music Inc. (BMI), Arranger John Serry, 12 July 1954, Copyright # A146305 [https://books.google.com/books?id=1RghAQAAIAAJ&pg=PA1405 Catalog of Copyright Entries Vol 8 Pt.1 Books and Pamphlets July-December 1954, p. 1405]</ref>
{{colend}}
{{colbegin}}
* ''Junior Accordion Band Series'' (arr. accordion quartet, publisher Alpha Music, 1955)<ref>[https://www.ebay.com/itm/254556663995 ''Junior Accordion Band Series'' by John Serry on ebay.com]</ref>
* ''Tango Verde'' (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Holiday in Rio'' (m. Terig Tucci, arr. accordion quartet, publisher Alpha Music, 1955)
* ''En Tu Reja'' (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Tango of Love'' (for accordion quartet, publisher Alpha Music, 1955)<ref name="auto4">{{cite web|url=http://repertoire.bmi.com/Catalog.aspx?detail=writerid&page=1&fromrow=1&torow=25&keyid=310127&subid=0 |title=BMI – Repertoire Search|website=Repertoire.bmi.com|access-date=26 November 2018}}</ref><ref name="repertoire.bmi.com">[https://repertoire.bmi.com/Search/Catalog?Num=ghzHg9frLPth31%252fUPAVsUA%253d%253d&Cae=NyKQPAHJlG6xdIfufIKvLw%253d%253d&Search=%7B%22Main_Search_Text%22%3A%22Garden%20In%20Monaco%22%2C%22Sub_Search_Text%22%3Anull%2C%22Main_Search%22%3A%22Title%22%2C%22Sub_Search%22%3Anull%2C%22Search_Type%22%3A%22all%22%2C%22View_Count%22%3A20%2C%22Page_Number%22%3A0%2C%22Part_Type%22%3Anull%2C%22Part_Id%22%3Anull%2C%22Part_Id_Sub%22%3Anull%2C%22Part_Name%22%3Anull%2C%22Part_Cae%22%3Anull%2C%22Original_Search%22%3Anull%2C%22DisclaimerViewed%22%3Anull%7D&PartType=WriterList&ResetPageNumber=True&PartIdSub=YO0HedHMatLb45JzS23DVw%253d%253d BMI-Songview Catalogue – songs by John Serry on repertoire.bmi.com]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Tango of Love" score p. 13 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Manolas'' (m. Escobar, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Petite Tango'' (for accordion quartet, publisher Alpha Music, 1955)<ref name="auto4"/><ref name="repertoire.bmi.com"/>
* ''The Lost Tango'' for accordion, Words by Edward Steinfeld, 1956)<ref>The Library of Congress Copyright Office, ''The Lost Tango'', m. John Serry, Words Edward Steinfeld, New York, New York, 14 June 1956 Copyright #EU440575 [https://archive.org/stream/catalogofcopyrig3105lib#page/134/mode/1up/search/Serry Library of Congress Catalog of Copyright Entries 1956 Unpublished Music Jan-Dec. Vol. 10, Part 5a, Pg. 134 on archive.org]</ref>
* ''Garden in Monaco'' (for accordion, publisher Alpha Music, 1956)<ref name="auto4"/><ref name="repertoire.bmi.com"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Garden in Monaco" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Rockin' the Anvil'' (for accordion, publisher Alpha Music, 1956)<ref name="auto4"/><ref name="repertoire.bmi.com"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Rockin' the Anvil" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Selected Accordion Solos'' (arr. accordion, publisher Alpha Music, 1956)
* ''Cocktails in Spain'' (for marimba, percussion, guitar, bass and organ, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Cocktails in Spain" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Spooky Polka'' (for accordion, publisher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Spooky Polka" score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Reeds in a Rush'' (for accordion, publisher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Reeds in a Rush" draft score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''American Rhapsody'' (for accordion, publisher Rumbasher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "American Rhapsody" score p. 10 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''[[I Get a Kick Out of You]]'' (m. [[Cole Porter]], arr. violins, three accordions, vibes, guitar, bass, drums, piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 4 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Mimi (song)|Mimi]]'' (m. [[Richard Rodgers]], arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 5 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[The One I Love (Belongs to Somebody Else)|The One I Love]]'' (m. Isham Jones, arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 6 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Swingin' Down the Lane]]'' (m. [[Isham Jones]], arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 7 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Tico-Tico no Fuba|Tico-Tico]]'' (m. [[Zequinha de Abreu]], arr. three accordions, guitar, bass and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder p. 14-15 archived at the University of Rochester Eastman School of Music]</ref>
* ''Processional for Organ'' (liturgical [[bridal march]] for organ, 1968)<ref name="River Campus 1980">[https://www.rochester.edu/pr/Review/V70N6/cn-u-80.html "Rochester Review" July-August 2008, Vol 70, No. 6 University of Rochester Alumnus magazine: River Campus (See Class of 1980) – Son of John Serry notes that his father's compositions and recordings have been submitted into the Sibley Library for archive]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Processional March" score p. 10 John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Falling Leaves'' (for piano, 1976)<ref>The Library of Congress Copyright Office,''Falling Leaves'', Composer: John Serry Sr., May 21, 1976, Copyright # EU 233726</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Falling Leaves" score p. 11 John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Elegy'' (for piano or organ, 1984 Rev. 1994)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Elegy" score p. 10 The John J. Serry Collection archived at the University of Rochester]</ref>
* ''Three Songs of Love'' (for voice and piano, poems by David Napolin, 1986)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Three Songs of Love" pp. 11-12 The John J. Serry Sr Collection archived at the University of Rochester]</ref>
* ''A Savior Is Born'' ([[Christmas]] liturgical for organ & voice, 1991)<ref>The Library of Congress Copyright Office, ''A Savior Is Born'', Composer: John Serry Sr., November 18, 1991, Copyright # PAU 1-575-137 [http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=9&ti=1,9&Search_Arg=Serry%20John&Search_Code=NALL&CNT=25&PID=6Ry2vjsI_BnOjbvb8nWIIpwJ9pUD7h&SEQ=20171030121559&SID=3 ''A Savior is Born'' on THe United States Copyright Office Online Catalog cocatalog.loc.gov]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "A Savior Is Born" score p. 12 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Dreams Trilogy'' (for solo piano, 1991)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Dreams Trilogy" score p. 11 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''The Lord's Prayer'' (liturgical [[Lord's Prayer]] for organ and chorus, 1992)<ref>The Library of Congress Copyright Office,'' The Lord's Prayer'', Composer: John Serry Sr., September 2, 1992, Copyright # PAU 1-665-838 [http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=8&ti=1,8&Search_Arg=Serry%20John&Search_Code=NALL&CNT=25&PID=6Ry2vjsI_BnOjbvb8nWIIpwJ9pUD7h&SEQ=20171030121559&SID=3 ''The Lord's Prayer '' on The United States Copyright Office Online Catalog cocatalog.loc.gov]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "The Lord's Prayer" score p. 12 The john Jerry Sr Collection archived at the University of Rochester]</ref>
* ''Lamb of God'' (liturgical hymn for choir, flute and bass, 1994)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Lamb of God" score p. 12 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Five Children's Pieces For Piano'' (for piano, 1996)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Five Children's Pieces For Piano" score p. 11 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
{{colend}}

=== Advanced compositions ===
Serry's compositions in the [[symphonic jazz]] and [[classical music]] genres include:<ref name="esm.rochester.edu">{{cite web |url=http://www.esm.rochester.edu/sibley/specialcollections |title=Ruth T. Watanabe Special Collections Home |website=Sibley Music Library |date=13 November 2019 |access-date=12 December 2022 }} Performers can locate the scores to "American Rhapsody" and "Concerto For Free Bass Accordion" which were donated to the [[Eastman School of Music]]'s [[Sibley Music Library]]'s – Ruth T. Watanabe Special Collections Department by contacting the archivist here.</ref><ref name="River Campus 1980"/><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection archived at the University of Rochester]</ref>

* ''[[American Rhapsody]]'' (for accordion, 1955: published by Alpha Music 1957; transcribed for piano, 2002)<ref name="ReferenceE"/><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "American Rhapsody" score Folder 12 & 19 p. 10 The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref>

* ''[[Concerto For Free Bass Accordion]]'' (for accordion, 1966; transcribed for piano, 1995–2002, unpublished, a.k.a. ''Concerto in C Major for Bassetti Accordion'')<ref name="Congress Copyright Office 1968"/><ref>{{cite web|url=https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=Serry&Search%5FCode=NALL&CNT=25&PID=qtoCDJJcISkF-Y5Tnolj9EU37&SEQ=20180726172131&SID=7 |title=The Library of Congress Copyright Office – Public Catalog 1978 – Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

== Discography ==
{{external media |width=200px |audio1= You may hear selections from the album "[[Squeeze Play (album)|Squeeze Play]]" (Dot Records,1956) [https://listenbrainz.org/artist/9ff7e10c-d72b-4948-9a2e-635b0ad19be0/ '''Here on Listenbrainz.org''']}}
* ''[[Squeeze Play (album)|Squeeze Play]]'' – Dot Records (catalogue #DLP-3024) (1956)<ref name="article11" /><ref name="BillboardSqueezePlay" /><ref>{{cite book |title=Squeeze play |date=26 November 2018 |oclc = 12935411}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection "Squeeze Play" audio recording of compositions and arrangements by John Serry in "The John J. Serry Sr. Collection" p. 19 at the Eastman School of Music on esm.rochester.edu]</ref>

* ''[[RCA Thesaurus]]''  – RCA Victor Transcriptions series of over thirty works. John Serry Sr. as a contributing arranger and soloist with The Bel-Cordions accordion Sextette ensemble and Ben Selvin – Music Director (1954).<ref name="article11" /><ref name="ReferenceF">[https://www.esm.rochester.edu/sibley/specialcollections/ Eastman School of Music: Sibley Music Library: Ruth T. Watanabe Special Collections Dept. at www.esm.rochester.edu]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "John Serry Sextette" audio recording for RCA Thesaurus of arrangements and performances by John Serry at the RCA Victor Sudios in 1954 p. 18 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
<ref>[https://www.google.com/search?tbm=bks&q=RCA+Thesaurus+John+Serry Radio Daily-Television Daily. Publisher: Radio Daily Corporation 29 October 1954, p. 8 – "RCA Thesaurus cut a session of Latin-American music, polkas, and novelties with the John Serry Accordion Quartet", RCA Thesaurus John Serry on Google Books]</ref> List of musical arrangements: ''Allegro'' – [[Joseph Haydn]], ''[[The Golden Wedding]]( La Cinquantaine)'' – [[Jean Gabriel-Marie]], ''Tango of Love'' – John Serry Sr., ''[[Shine On, Harvest Moon]]'' – [[Jack Noworth]] & [[Nora Bayes]], ''[[My Melancholy Baby]]'' – Ernie Burnett & George A. Norton, ''[[Singin' in the Rain (song)|Singin' in the Rain]]'' – [[Arthur Freed]] & [[Nacio Herb Brown]], ''[[Nobody's Sweetheart]]'' – [[Elmer Schoebel]]/[[Gus Kahn]], ''[[Chicago (That Toddlin' Town)|Chicago]]'' – [[Fred Fisher]], ''[[If You Knew Susie]]'' – [[Buddy DeSylva]] & [[Joseph Meyer (songwriter)|Joseph Meyer]], ''[[Somebody Stole My Gal]]'' – [[Leo Wood]], ''[[Ta-ra-ra Boom-de-ay]]'' – [[Paul Stanley (composer)]], ''[[Old McDonald]]'' – children's music, ''[[Beer Barrel Polka]]'' – [[Jaromir Vejvoda]]/[[Eduard Ingris]], ''I Love Louisa'' – [[Arthur Schwartz]]/[[Howard Dietz]], ''[[Oh You Beautiful Doll]]'' – Seymour Brown/ [[Nat D. Ayer]], ''[[Chinatown, My Chinatown]]'' -[[William Jerome]]/[[Jean Schwartz]] 
* ''Ballroom in Dreamland'' – Dot Records (catalogue # 5006) – a compilation album released in Japan featuring performances of Jazz, Latin and Classical music by the John Serry Orchestra and the [[Billy Vaughn]] Orchestra.<ref name="discogs.com"/>
* ''Pietro Deiro Presents the Accordion Orchestra'' – Coral Records (catalogue #CRL-57323) – as a member of an orchestra of sixteen accordionists interpreting the sounds of a traditional orchestra in performances of transcriptions from classical music under the direction of Joe Biviano.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 The Billboard- Reviews and Ratings of New albums "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 "Pietro Deiro Presents the Accordion Orchestra" Critical Review of the album on Google Books]</ref><ref>[https://search.worldcat.org/title/36735352?oclcNum=36735352 "Pietro Deiro Presents the Piano Accordion"- See the performers' credits and song listings on the record album on Worldcat.org]</ref><ref>[https://www.discogs.com/release/12006299-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra Pietro Deiro, Joe Biviano The Accordion Orchestra (Coral, CRL-57323). See the notes on the album cover. Photograph of the album on Discogs.com]</ref><ref>[https://www.bsnpubs.com/decca/coral/coral.html The Coral Album Discography. Edwards, David. Callahan, Mike. Eyrles, Patrice. Watts, Randy. Neely, Timothy. April 27, 2014. CRL-57323 "Pietro Deiro Presents the Accordion Orchestra" (1960) "The Coral Album Discography" on bsnpubs.com]</ref><ref>[https://books.google.com/books?id=oiNtRleCw6wC&q=John+Serry Music Trades: "Accordion Orchestra Featured on New Coral 12" Record" Vol. 109, 1961 p. 84 John Serry listed as a member of the accordion orchestra on the new Coral record. John Serry on Google Books]</ref>*:List of musical selections: ''Danse des Bouffons'' – [[Nikolai Rimsky-Korsakov]], ''Beguine di Roma'' – Joe Biviano, ''Invitation to the Dance'' – [[Carl Maria von Weber]], ''La Cumparsita'' – musical arrangement by Joseph Biviano, ''La Chasse'' – [[Niccolo Paganini]], ''Danse Chinoise'' – [[Pyotr Ilyich Tchaikovsky]], ''Three Blind Mice'' – musical arrangement by Joseph Biviano, ''Danse de Marlitens'' – [[Pyotr Ilyich Tchaikovsky]], ''Walse de Fleur'' – Pyotr Ilyich Tchaikovsky, ''The Flight of the Bumble Bee'' – Nikolai Rimsky-Korsakov, ''The Rooster'' – Joe Biviano, ''Careless one cha-cha-cha'' – Joe Biviano
* ''Accordion Capers'' – Sonora Records (catalogue # MS 476) – as a member of the Biviano Accordion & Rhythm Sextette. (1947)<ref name="Inc.1946" /><ref>{{cite book|title=Accordion capers |date=26 November 2018 |oclc = 48679834}}</ref><ref name="web.archive.org"/>List of musical selections: ''[[Little Brown Jug (song)|Little Brown Jug]]''- [[Joseph Winner|Joseph Eastburn Winner]], ''[[The Golden Wedding]] (La Cinquantaine)'' – [[Jean Gabriel-Marie]], ''Leone Jump'' – John Serry, ''[[Swing Low, Sweet Chariot]]''- [[Wallace Willis]], ''[[That's a Plenty]]'' – [[Lew Pollack]], ''Scotch Medley'' – folk music, ''The Jazz Me Blues'' – [[Tom Delaney (songwriter)|Tom Delaney]]
* ''Latin American Music'' – Alpha Records (catalogue # 12205A, 12205B, 12206A, 12206B) – as a member of the Viva America Orchestra – Conductor Alfredo Antonini (1946)<ref>Billboard. ''Alpha's 12" Latin-Vinylites'', New York, Vol. 58 No. 13 30 March 1946, P. 22 [https://books.google.com/books?id=JBoEAAAAMBAJ&pg=PT21 Alpha Records release of Alfredo Antonini and Viva America Orchestra in Billboard on books.google.com]</ref>List of recordings: ''Caminito de tu Casa'' – [[Julio Alberto Hernández]], ''Chapinita'' – [[Miguel Sandoval (composer)|Miguel Sandoval]], ''Adios Mariquita Linda'' – Marcos A. Jimenez, ''Mi Nuevo Amor'', ''[[La Zandunga]]'' – Andres Gutierrez/Maximo Ramo Ortiz, ''La Mulata Tomasa'' – Lazaro Quintero, ''Tres Palabras'' – [[Osvaldo Farres]], ''[[Noche de ronda]]'' – [[Augustin Lara]]
* ''[[Granada (song)|Granada]]'' – Decca Records (catalogue # 23770A) – as a member of the Alfredo Antonini Orchestra with the lyric tenor [[Nestor Mesta Chayres]] (1946)<ref name="archive.org">{{cite web |url=https://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a|title=Granada|last1=Nestor Chayres |last2=Agustin Lara|last3=Alfredo Antonini|date=30 April 1946|access-date=26 November 2018|website=Archive.org}}</ref>
* ''Chiquita Banana'' – Alpha (catalogue # 1001A) – as a member of the Alfredo Antonini Orchestra, conductor Alfredo Antonini, vocalist [[Elsa Miranda]] (1946) <ref>[https://archive.org/details/78_chiquita-banana_elsa-miranda-alfredo-antonini-and-his-viva-america-orchestra-mckenz_gbia0185276a/CHIQUITA+BANANA+-+Elsa+Miranda+-+Alfredo+Antonini+and+his+Viva+America+Orchestra.flac "Chiquita Banana" performed by the Alfredo Antonini Viva America Orchestra & vocalist Elsa Miranda on archive.org]</ref>
* ''By the Cradle'' – Victor Records (catalogue # 26-5035) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: By the Cradle, John Serry accordionist on uscb.edu]</ref>
* ''Katusha'' – Victor Records (catalogue # 26-5035) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Katusha, John Serry accordionist on uscb.edu]</ref>
* ''Hobo Song'' – Victor Records (catalogue # 26-5036 ) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Hobo Song, John Serry accordionist on uscb.edu]</ref>
* ''[[Dark Is the Night (Soviet song)|Dark Night]]'' – Victor Records (catalogue # 26-5037) – accordionist in the Mischa Borr Orchestra, vocalist [[Sidor Belarsky]] (1946)<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Dark Night, John Serry accordionist on uscb.edu]</ref>
* ''Leone Jump'' – Sonora Records (catalogue # 3001 B) – as a member of the Biviano Accordion & Rhythm Sextette. (1945)<ref name="hubcap.clemson.edu" /><ref name="web.archive.org"/><ref name="ReferenceA"/>
* ''Clarinet Polka'' – Bluebird (catalogue # B-11294-A) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200051914/BS-067554-Clarinet_polka John Serrapica as instrumentalist in the Charles Magnante Accordion Band in 1941 at the University of California Santa Barbara Library's Discography of American Historical Recordings at adp.library.ucsb.edu]</ref>
* ''Swing Me a Polka'' – Victor (matrix # BS-067555) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref name="adp.library.ucsb.edu">[https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John John Serrapica as a member of the Charles Magnante Accordion Band on the University of California Santa Barbara Library's Discography of American Historical Recordings at adp.library.ucsb.edu]</ref>
*''Le Secret'' – Victor (matrix # BS-067556) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref name="adp.library.ucsb.edu"/>
* ''Halli-Hallo-Halli'' – Victor (matrix # BS-067556) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941.<ref name="adp.library.ucsb.edu"/>
* ''Tres Palabras'' and ''Esta Noche Ha Pasado'' – Columbia Records (catalogue # 6201-X) – as a member of the CBS Pan American Orchestra – Conductor Alfredo Antionini, Vocalist Luis G. Roldan (194?)<ref name="ReferenceC">{{cite web |url=https://archive.org/details/78_tres-palabras_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-cbs-os_gbia0033510a |title=Tres Palabras |last1=Luis G. Roldan |last2=Alfredo Antonini y su Orquesta Pan-Americana C.B.S.|last3=Osvaldo Farres|access-date=26 November 2018|website=Archive.org}}</ref><ref name="archive1">{{cite web|url=https://archive.org/details/78_esta-noche-ha-pasado_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-c_gbia0033510b|title=Esta Noche Ha Pasado |last1=Luis G. Roldan |last2=Alfredo Antonini y su Orquesta Pan-Americana C.B.S.|last3=M. Sabre Marroquin|access-date=26 November 2018|website=Archive.org}}</ref>List of songs: ''Tres Palabras'' – [[Osvaldo Farres]], ''Esta Noche Ha Pasado'' – M. Sabre Marroquin
* '' Asi'' and ''Somos Diferentes'' – Columbia Records (catalogue # 6202-X) – as a member of the CBS Pan American Orchestra – Conductor Alfredo Antonini, Vocalist Luis G. Roldan (194?)<ref name="frontera.library.ucla.edu">{{cite web|url=http://frontera.library.ucla.edu/recordings/asi-2|title=Asi – Frontera Project|website=Frontera.library.ucla.edu|access-date=26 November 2018}}</ref><ref name="autogenerated1">{{cite web|url=http://frontera.library.ucla.edu/recordings/somos-diferentes-1|title=Somos Diferentes – Frontera Project |website=Frontera.library.ucla.edu |access-date=26 November 2018 }}</ref>List of songs: ''Asi'' – María Grever, ''Somos Diferentes'' – Pablo Beltran Ruiz
{{external media |width= 200px |audio1= You may hear John Serry Sr. with [[Los Panchos]] Trio and the [[Alfredo Antonini]] [[Viva America]] Orchestra performing a chilian cueca dance "La Palma" circa 1946 [https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 '''Here on Archive.org''']}}
* ''La Palma'' and ''Rosa Negra'' – Pilotone Records (catalogue # 5067 & # 5069) – as a member of Alfredo Antonini's Viva America Orchestra, Vocalists Los Panchos Trio (194?)<ref name="auto2">{{cite web |url=https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 |title=La Palma; Rosa Negra |last1=Los Panchos Trio|last2=Alfredo Antonini and His Viva America Orchestra|access-date=26 November 2018 |website=Archive.org}}</ref>List of songs: ''La Palma'' (Chilian cueca dance), ''Rosa Negra'' (Conga)
* ''El Bigote de Tomas'' and ''De Donde'' – Columbia Records (Catalogue # 36666) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4">{{cite web|url=https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 |title=Viva Sevilla!; Noche de Amor; Mi Sarape; Que Paso?; El Bigote de Tomas; De Donde? |last1=Juan Arvizu and the C. B. S. Tipica Orchestra |last2=Lavidada |last3=DelMoral |last4=Alfredo Antonini |last5=Juan Arvizu |last6=Grever |last7=Juan Arvicu and the C. B. S. Tipica Orchestra |last8=Cortazar |last9=Juan Arvizu and the C. B. S Tipica Orchestra |last10=Valie|date=28 January 1942|access-date=26 November 2018 |website=Archive.org }}</ref> List of musical selections: ''El Bigote de Tomas'' – Valie, ''De Donde'' – María Grever
* ''Mi Sarape'' and ''Que Paso?'' – Columbia Records (catalogue # 36665) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4"/>List of musical selections: ''Mi Sarape'' – María Grever, ''Que Paso?'' – Cortazar
* ''Viva Sevilla!'' and ''Noche de Amor'' – Columbia records (catalogue # 36664) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4"/> Musical selections: ''Viva Sevilla!'' – Lavidad/Delmoral, ''Noche de Amor'' – Tchaikovsky arr.Arvizu/Antonini
* ''Shep Fields and His Rippling Rhythm Orchestra'' – Bluebird Records – as the accordionist (1938)<ref name="Rust1975"/><ref name="ReferenceG">[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John John Serry's audio recordings with the Shep Fields Rippling Rhythm Orchestra on Discography of American Historical Recordings]</ref><ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200033326/PBS-026255-An_old_curiosity_shop Audio recording with the Shep Fields Orchestra – "An Old Curiosity Shop" (1938) on the Discography of American Historical Records adp.library.ucsb.edu]</ref>List of recordings 1938: ''A Stranger in Paree'' (#B-7566), ''I Wanna Go Back to Bali'' (B#7566) – [[Harry Warren]]/[[Al Dubin]], ''Cathedral in the Pines'' (#B-7553) – [[Charles Kenny]]/Nick Kenney, ''Somewhere with Somebody Else'' (#B-7555), ''That Feeling Is Gone'' (#B-7555), ''Good Evenin', Good Lookin'' (#B-7553), ''My Walking Stick'' (#B-7592), ''Havin' Myself a Time'' (#B-7581) – [[Ralph Rainger]]/Leo Robin, ''Fare Thee Well, Annie Laurie'' (#B-7581), ''This Time It's Real'' (#B-7579), ''If It Rains – Who Cares?'' (#B-7579), ''[[Now It Can Be Told]]'' (#B-7592) – [[Irving Berlin]], ''I've Got a Pocketful of Dreams'' (#B-7581), ''In Any Language'' (#B-7604), ''Where in the World'' (#B-7604), ''[[Any Little Girl, That's a Nice Little Girl, Is the Right Little Girl for Me]]'' (#B-7606) – Thomas J. Gray/[[Fred Fisher]], ''[[The Fountain in the Park|In the Merry Month of May]]'' (#B-7606) – Ed Haley, ''Don't Let That Moon Get Away'' (#B-7697) – [[Johnny Burke (lyricist)]]/[[James V. Monaco]], ''An Old Curiosity Shop'' (#B-10056) – [[Sam Coslow]], [[Guy Wood]], [[Abner Silver]]
{{external media|width=200px|audio1= You may hear John Serry and the Shep Fields Orchestra performing the fox trot "There's a New Moon Over the Old Mill" in 1937 [https://adp.library.ucsb.edu/index.php/matrix/detail/200030370/BS-017491-Theres_a_new_moon_over_the_old_mill '''Here on ucsb.edu''']}}
*''Shep Fields and His Rippling Rhythm Orchestra'' – Bluebird Records – as the accordionist (1937)<ref name="Rust1975"/><ref name="ReferenceG"/>List of recordings 1937: ''[[With a Smile and a Song (song)|With a Smile and a Song]]'' (#B-7343) – [[Frank Churchill]]/[[Larry Morey]], ''[[Whistle While You Work]]'' (#B-7343) – [[Frank Churchill]]/[[Larry Morey]], ''It's Wonderful'' (#B-7333), ''I'm the One Who Loves You'' (#B-7333), ''There's a New Moon Over the Old Mill'' (#B-7355) – [[Allie Wrubel]]/[[Herb Magidson]], ''Goodnight, Angel'' (#B-7355) [[Allie Wrubel]]/[[Herb Magidson]], ''Bob White (Whatcha Gonna Swing Tonight?)'' (#B-7345) – [[Bernard Hanighen]]/[[Johnny Mercer]]
* ''Chicago Musette-John Serry and His Accordion'' – Versailles (catalogue # 90 M 178) released in France (1958)<ref name="catalogue.bnf.fr"/><ref name="auto3"/> List of musical arrangements: ''Rock and Roll Polka'' – [[Mort Lindsey]]/George Skinner, ''[[My Heart Cries for You]]''- [[Percy Faith]]/[[Carl Sigman]], ''[[Secret Love (Doris Day song)|Secret Love]]'' -[[Paul Francis Webster|Paul Webster]]/[[Sammy Fain]], ''[[Granada (song)|Granada]]'' – [[Agustín Lara]]

== Filmography ==
* ''[[The Big Broadcast of 1938]]'' (1938) – as himself, performing with the Shep Fields Orchestra.<ref>{{cite book|title=The big broadcast of 1938|date=26 November 2018|oclc = 934654999}}</ref>

== Invention ==
Serry was granted a patent in 1966 by the [[United States Patent Office]] for his design of a protective shield for collapsible toothpaste tubes (US Patent #US3269604).<ref>''Protective Shield For Collapsible Paste Tubes #US 3269604 A'' Inventor John Serry [https://patents.google.com/patent/US3269604 as listed on Google.com/patents]</ref><ref>[https://books.google.com/books?id=AHobAQAAMAAJ&dq=John+Serry&pg=PA1973 "Official Gazette: United States Patent Office" : # 3,269,604 -''Protective Shield For Collapsible Paste Tubes filed by John Serry'', August 30, 1966, p. 1973 on google.com/books]</ref> A patent for the same design was also granted to him by the [[Canadian Intellectual Property Office|Canadian Patent Office]] in 1966 (Serial #998,449 May 14, 1966).<ref>[https://books.google.com/books?id=2LdQAAAAYAAJ&q=%22+John+Serry+%22 ''Canadian Patent Office Record'' 1967 Vol 95, p. 7659 -"Protective Shield for Collapsible Paste Tubes...John Serry, USA...May 1966 Serial # 980,449 on Google Books]</ref>

== Publications ==
* {{Citation|last=Serry|first=John|title=The Danzon, The Bolero, The Rumba – The Substitute American Rhythm Emphasis Laid on Going Native|magazine=Accordion News|date= 1935}}<ref name="ReferenceH">[https://books.google.com/books?id=63LFkLKKPxIC&q=John%20Serry Accordion News & John Serry on Google Books]</ref>
* {{Citation|last=Serry|first=John|title=Training: Reading From Piano Scores. Stumbling Cues. Avoid Time Wasters|magazine=Accordion News|date=1935}}<ref name="ReferenceH"/>
* {{Citation|last=Serry|first=John|title=Chorus|magazine=Accordion News|date=1936}}<ref>[https://books.google.com/books?id=LJ5peQ2vYrgC&q=John%20Serry Accordion News & John Serry on Google Books]</ref>
* {{Citation|last=Serry|first=John|title=Accordions & Orchestras: Past Present & Future|magazine=Accordion World|date=November 1937}}.
* {{Citation|last=Serry|first=John|title=Those Neglected Basses|magazine=Accordion World|date=March 1939}}.
* {{Citation|last=Serry|first=John|title=What's Wrong With The Accordion|magazine=Accordion World|date=1947}}.<ref name=Jacobson2007/>
* {{Citation|last=Serry|first=John|title=Jazz And The Student Accordionist|magazine=Accordion World|year=1961}}.<ref>[https://books.google.com/books?id=junZxW_-MIkC&q=John+Serry+Accordion+World Accordion World Vol. 26 No. 1, April 1961, p. 2 "Jazz and the Student Accordionist" by John Serry on Google Books]</ref>
* {{Citation|last=Serrapica|first=John|title=The Syncopated Accordionist|year=1952|publisher=Charles Colin}}.<ref name="loc.gov"/>

== Archived works ==
{{external media|float=right|width=100px|image1=The John J. Serry Sr. Collection Archive [[University of Rochester]] [[Eastman School of Music]]. [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf '''Here on esm.rochester.edu''']}}
* ''The John J. Serry Sr. Collection'' at the [[Eastman School of Music]]'s [[Sibley Music Library]] within the Ruth T. Watanabe Special Collections Department contains selected examples of Serry's original compositional scores, arrangements, LP recordings, reel to reel recording tapes of his performances, biographical articles and other biographical reference materials which have been donated for archival purposes to benefit both researchers and students. The archive includes a copy of his album ''[[Squeeze Play (album)|Squeeze Play]]'' and an audio recording of his arrangements for ''[[RCA Thesaurus]]''. Researchers may contact the staff archivist directly for further assistance in obtaining copies of scores or reviewing LP recordings.<ref name="ReferenceF"/><ref name="River Campus 1980"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection archived at the Eastman School of Music on esm.rochester.edu]</ref>

* The [[Discography of American Historical Recordings]] catalog at the University of California at Santa Barbara includes several of the master recordings of Serry's performances with the Shep Fields Rippling Rhythm Jazz Orchestra in New York City (1937-1938) which are accessible online via audio streaming.<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John Discograph of American Historical Recordings – University of California Santa Barbara: Audio recordings of John Serry in the Shep Fields Rippling Rhythm Orchestra]</ref>

== Professional affiliations ==
Serry was an active member of the [[Broadcast Music Incorporated|BMI]], [[SESAC]], [[American Federation of Musicians]] (Local #802) (1933–2003),<ref>{{cite web|url=http://www.local802afm.org/2004/01/REQUIEM-53/|title=Requiem – Associated Musicians of Greater New York – Local 802|website=Associated Musicians of Greater New York – Local 802|date=January 2004 |access-date=26 November 2018}}</ref><ref name="Serrapica p. 398"/> and The [[American Guild of Organists]]. For a brief period he served as a charter member of the [[American Accordionists Association]] (1938). He pursued professional musical studies with: Joseph Rossi (accordion, 1926–1929); Albert Rizzi (piano and harmony, 1929–1932); Gene Von Hallberg (counterpoint and harmony, 1933–1934)<ref name="article10"/> (a founder of the [[American Accordionists Association]]); Jascha Zade (piano, 1945–1946);<ref name="article10"/> Arthur Guttow (organ, 1946), and Robert Strassburg (piano, advanced harmony, and orchestration, 1948–1950).

== See also ==
[[Accordion music genres]] 
[[Bolero]] 
[[Easy listening]] 
[[Secular Jewish music]] 
[[Wedding music]]
{{Portal bar|Biography|Music|Latin music|Classical music|Jazz}}

== References ==
{{reflist}}

== External links ==
* [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection at the Eastman School of Music – archive of scores, compositions, arrangements and recordings by John Serry at the University of Rochester's Eastman School of Music – Sibley Music Library- Ruth T. Watanabe Special Collections]
* [http://gallica.bnf.fr/ark:/12148/bpt6k88198701?rk=21459;2 ''Chicago Musette – John Serry et son Accordeon'' – sound recording of Serry performing "Granada" by Agustin Lara on BnF Gallica.bnf.fr {{in lang|fr}}]
* [https://archive.org/details/78_tres-palabras_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-cbs-os_gbia0033510a ''Tres Palabras'' – sound recording of Serry performing "Tres Palabras" by Osvaldo Farres – CBS Pan American Orchestra, Vocalist Luis G. Roldan on Archive.org]
* [http://frontera.library.ucla.edu/frontera-search?keywords=Orquesta+Pan+Americana+CBS ''Asi'', ''Esta Noche Ha Pasado'', ''Somos Differentes'', and ''Tres Palabras'' – Sound recordings of John Serry Sr. performing as accordionist in the Orquesta Pan Americana with Alfredo Antonini conducting with vocalist Luis G. Roldan at the University of California Los Angeles on fronter.library.ucla.edu]
* [http://catalog.nypl.org/search/o747952344 ''It's a Grand Night for Singing'' – CBS radio program excerpt from Program of the Three Americas -Viva America Orchestra sound recording at the New York City Public Library Online Catalog at catalog.nypl.org]
* [https://catalog.loc.gov/vwebv/holdingsInfo?searchId=9754&recCount=25&recPointer=0&bibId=12137206 ''Latin American Music'' – Viva America Orchestra 78 RPM sound recordings at The Library of Congress Online Catalog at catalog.loc.gov]
* [https://www.archives.gov/research/guide-fed-records/groups/229.html#229.6.2 Copies of selected radio broadcasts by the Office of the Coordinator of Inter-American Affairs – Radio Division as archived at the United States National Archive www.archives.gov]
* [https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John Discography of American Historical Recordings: University of California Santa Barbara – Audio recordings online of John Serry and the Shep Fields Rippling Rhythm Orchestra 1937 – 1938]
* [https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John Discography of American Historical Recordings: University of California Santa Barbara – Audio recordings online of John Serrapica (aka John Serry) and the Charles Magnante Accordion Band 1941]
* [https://www.worldcat.org/search?q=John+Serry+accordionist ''The Syncopated Accordionist'', ''Rhythm-Airs'', ''The Bugle Polka'', ''Consolation Waltz'' – Musical scores by John Serry on WorldCat.org]
* [https://www.worldcat.org/title/945114698 ''Fantasy In F'' – Musical score by John Serry on WorldCat.org]
* [https://www.worldcat.org/title/945114662?oclcNum=945114662 ''Glissando'' – Musical score by John Serry on worldCat.org]
*[https://www.worldcat.org/title/945114625?oclcNum=945114625 ''Tarantella'' – Musical score by John Serry on WorldCat.org]

{{Authority control}}

{{DEFAULTSORT:Serry, John Sr.}}
[[Category:1915 births]]
[[Category:2003 deaths]]
[[Category:Musicians from Brooklyn]]
[[Category:People from Brookville, New York]]
[[Category:Classical musicians from New York (state)]]
[[Category:Jazz musicians from New York (state)]]
[[Category:20th-century accordionists]]
[[Category:20th-century American composers]]
[[Category:20th-century American male musicians]]
[[Category:20th-century classical composers]]
[[Category:20th-century jazz composers]]
[[Category:20th-century organists]]
[[Category:American classical accordionists]]
[[Category:American classical composers]]
[[Category:American classical organists]]
[[Category:American jazz accordionists]]
[[Category:American jazz composers]]
[[Category:American male classical composers]]
[[Category:American music arrangers]]
[[Category:American people of Italian descent]]
[[Category:Dot Records artists]]
[[Category:Jazz-influenced classical composers]]
[[Category:American male jazz composers]]
[[Category:American male classical organists]]

John Serry Sr.

2024-10-03T23:04:00Z

160.72.80.178: /* Discography */''removed dead link''~~~~NHPL

{{short description|American concert accordionist, arranger, and composer}}
{{About|the classical music accordionist and organist|the jazz pianist and composer|John Serry Jr.|the American electronic music composer|Jonn Serrie}}


{{Infobox person
| name = John Serry
| image = John-Serry-Sr.gif
| image_size =
| caption = John Serry in 1967
| birth_date = {{birth date|1915|01|29}}
| birth_place = [[Brooklyn]], United States
| death_date = {{death date and age|2003|09|14|1915|01|29}}
| death_place = [[Long Island]], United States
| restingplace =
| othername =
| occupation = Accordionist, Organist, Educator, Composer
| yearsactive = 1930-2002
| spouse =
| children =
}}

'''John Serry Sr.''' (born '''John Serrapica'''; January 29, 1915 – September 14, 2003) was an American concert accordionist, arranger, composer, organist, and educator. He performed on the [[CBS]] Radio and Television networks and contributed to [[Voice of America]]'s [[cultural diplomacy]] initiatives during the [[Golden Age of Radio]]. He also concertized on the accordion as a member of several orchestras and jazz ensembles for nearly forty years between the 1930s and 1960s.<ref>''Allegro'', American Federation of Musicians, New York, January 2004, Vol CIV, Obituary and the date of death for John Serry listed as Sept. 14, 2003 as posted by his son John Serry Jr. [http://www.local802afm.org/publication_entry.cfm?XEntry=23736371 No. 1.] {{webarchive|url=https://web.archive.org/web/20060528201555/http://www.local802afm.org/publication_entry.cfm?xEntry=23736371 |date=2006-05-28 }}</ref><ref name="auto6">{{cite web|url=https://www.archives.com/1940-census/john-serrapica-ny-65186289?FirstName=John&LastName=Serrapica&Location=NY&folderImageSeq=724|title=John Serrapica from Assembly District 16 Brooklyn in 1940 Census District 24-1722|website=Archives.com}}</ref>
{{external media|width=285px|audio1=You may hear John Serry Sr. performing [[Agustin Lara]]'s bolero ''[[Granada (song)|Granada]]'' with the lyric tenor [[Nestor Mesta Chayres]] and the [[Alfredo Antonini]] Orchestra in 1946 [https://archive.org/details/78_romantic-songs-of-latin-america_nestor-chayres-alfredo-antonini-and-his-concert-orc_gbia8005920/03+-+GRANADA+-+NESTOR+CHAYRES+-+Alfredo+Antonini+And+His+Concert+Orchestra.flac '''Here''']}}

==Biography==
Serry's career spanned over seven decades. As a proponent of Latin American music and the [[free-bass system|free-bass accordion]], he performed as the [[piano accordion]]ist on the radio music program ''[[Viva América]]'', which was broadcast live to South America under the United States Department of State's [[Office of the Coordinator of Inter-American Affairs]]' [[cultural diplomacy]] initiative for [[Voice of America]] during [[World War II]].<ref>{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (See photograph showing Serry seated as the accordionist in the orchestra above the caption "The Latin-American artist Juan Arvizu with the CBS Pan American Orchestra conducted by Alfredo Antonini"</ref><ref>''The New York Times'', January 8, 1941, p. 18</ref><ref>''The New York Times'', January 1, 1942, p. 27</ref><ref>''The New York Times'', May 10, 1942, p. SM10</ref><ref>''The New York Times'', February 28, 1943, p. X9</ref><ref>''Time'', June 1, 1942.</ref> Broadcasts of this show have been cited as helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States in the 1940s.<ref name="auto9">Media Sound & Culture in Latin America & The Caribbean. Editors: Bronfman, Alejandra & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, 2012, p. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 Alfredo Antonini's CBS Pan American Orchestra, "Viva America" and Latin American music in the United States on Books.Google.Cmm See p. 49]</ref><ref name="auto8">{{Cite book|url=https://books.google.com/books?id=Qx00pQIkclMC&q=Viva+America&pg=PA166|title=Dissonant Divas in Chicana Music: The Limits of la Onda|first=Deborah R.|last=Vargas|date=August 29, 2012|pages=153–157|publisher=U of Minnesota Press|via=Google Books|isbn=9780816673162}}</ref>

Serry performed with big bands, symphony orchestras, radio and television orchestras, and Broadway orchestras at the [[Radio City Music Hall]],<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry...appearing as a soloist at the Radio City Music Hall" – on archive.org]</ref>
the [[Rainbow Room]] at Rockefeller Center (1935);<ref name="article9" /> the Starlight Roof at the [[Waldorf Astoria Hotel]] (1936–1937);<ref>''Accordion News'', November, 1937.</ref><ref>''Accordion World'', March, 1946, Vol. 11 #11</ref> the [[Palmer House Hilton|Palmer House]] in Chicago (1938);<ref name="article8">''The Los Angeles Examiner'', October 9, 1938, p. 1</ref> the [[Stevens Hotel]] in Chicago (1938);<ref>[https://www.google.com/search?q=John+Serry+AFM&rlz=1C1CHBF_enUS984US989&ei=aTndY8OuEpCj5NoP7qOp4Ao&ved=0ahUKEwiDh5zq5fn8AhWQEVkFHe5RCqwQ4dUDCBA&oq=John+Serry+AFM&gs_lcp=Cgxnd3Mtd2l6LXNlcnAQDDIFCCEQoAEyBQghEKABMgUIIRCgAToICAAQogQQsAM6BQghEKsCSgUIPBIBMUoECEEYAUoECEYYAFDpCFiKDmDuHWgBcAB4AIABY4gBjQKSAQEzmAEAoAEByAEEwAEB&sclient=gws-wiz-serp#ip=1 ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry in concert at the Stevens Hotel. See the link on this page to "EmPO – World Radio History" at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref> the Biltmore Hotel in Los Angeles (1938);<ref name="article8" /> [[Carnegie Hall]] with [[Alfredo Antonini]] conducting (1946);<ref name="article5">''The New York Times'', May 12, 1946, p. 42</ref> the [[Plaza Hotel]] (1940s); [[The Town Hall (New York City)|The Town Hall]] (1941–1942);<ref name="The Nation 1942">''The Nation'', March 7, 1942, Vol. 154, #10</ref><ref name="article2">[https://query.nytimes.com/gst/abstract.html?res=9C0CE2D7113BE33BBC4953DFB5668389659EDE&legacy=true "Diseuse in Debut Here"]. ''[[The New York Times]]'', March 1, 1942, p. 36</ref><ref name="article3">''The New York Times'', May 28, 1941, p. 32</ref> the Waldorf Astoria Hotel's Wedgewood Room (1948),<ref name="google.com">[https://www.google.com/search?q=Mischa+Borr+John+Serry&sca_esv=577452161&tbm=bks&ei=eR49ZfOGKdPx0PEP-eG_yA0&ved=0ahUKEwizp5DS_ZiCAxXTODQIHfnwD9kQ4dUDCAk&uact=5&oq=Mischa+Borr+John+Serry&gs_lp=Eg1nd3Mtd2l6LWJvb2tzIhZNaXNjaGEgQm9yciBKb2huIFNlcnJ5SLYgUJYIWOYccAB4AJABAJgBhgGgAbUKqgEEMC4xMrgBA8gBAPgBAcICBRAhGKsCiAYB&sclient=gws-wiz-books "Accordion World" Gerstner Publications, 1948 Vo. 14 p. 6 John Serry accordioinst with the Mischa Borr Orcehstra at the Waldorf Astoria Hotel on Google Books]</ref> The [[Rajah Theatre]] (1953),<ref name="ArAAAAIBAJ p. 38">[https://books.google.com/books?id=ihArAAAAIBAJ&dq=%22John+Serry&pg=PA38&article_id=3456,1341936 "Current Attratcions: Theatre Timetable: Rajah Accordion Concert: featuring John Serry"] Reading Eagle, May 3, 1953 p. 38 on Books Google</ref> the [[Ed Sullivan Theater]] (1959) for CBS television; the [[Empire Theatre (41st Street)|Empire Theater (New York)]] (1953);<ref name="article12">''New York Journal-American'' (see the photograph of Serry's signature inscribed with signatures of other members of the cast on the stage door of the Empire Theatre at the closing of the play ''[[The Time of the Cuckoo]]''), May 25, 1953, p. 15</ref> and such New York [[cafe society]] nightspots as: [[El Morocco]], El Chico and The Riviera in the 1930s. During the course of these performances he appeared under the musical direction of several noted conductors including: [[Alfredo Antonini]], Mischa Borr, [[Percy Faith]], [[Shep Fields]], [[Mitch Miller]]<ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See the album cover's credits for performers including John Serry "who has worked under such eminent conductors as Alfredo Antonini, Mitch Miller and Shep Fields''. Phonograph album photographed on Discogs.com]</ref> and [[Andre Kostelanetz]].<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry toured the United States with Shep Fields' Orchestra..and appeared under the direction of Andre Kostelanetz, Percy Faith and Alfredo Antonini and others" on archive.org]</ref><ref>[https://www.google.com/search?q=Mischa+Borr+John+Serry&sca_esv=577452161&tbm=bks&ei=eR49ZfOGKdPx0PEP-eG_yA0&ved=0ahUKEwizp5DS_ZiCAxXTODQIHfnwD9kQ4dUDCAk&uact=5&oq=Mischa+Borr+John+Serry&gs_lp=Eg1nd3Mtd2l6LWJvb2tzIhZNaXNjaGEgQm9yciBKb2huIFNlcnJ5SLYgUJYIWOYccAB4AJABAJgBhgGgAbUKqgEEMC4xMrgBA8gBAPgBAcICBRAhGKsCiAYB&sclient=gws-wiz-books "Accordion World" Gerstner Publications 1948 Vo. 14 p. 6 John Serry accordioinst with the Mischa Borr Orcehstra at the Waldorf Astoria Hotel on Google Books]</ref><ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See album cover for the performers' credits including: "John Serry who has worked under such eminent conductors as Alfredo Antonini, Mitch Miller and Shep Fields". Phonograph of album cover as photographed on Discogs.com]</ref>

[[File:Carnegie-hall-isaac-stern.jpg|thumb|upright=.70|left|[[Carnegie Hall]]]]
Serry was born John Serrapica in [[Brooklyn]], New York to Pasquale Serrapica and Anna Balestrieri,<ref name="auto6"/> the fourth-born of thirteen siblings.<ref>[https://www.archives.com/1940-census/john-serrapica-ny-65186289?FirstName=John&LastName=Serrapica&Location=NY&folderImageSeq=724 John Serrapica (son of Pasquale & Anna Serrapica) and his siblings: Louis, Carmela, Silvie, Ida, Nancy, Romeo, Julio, Rose, in the US Census of 1940, Kings County, NY on archives.com]</ref><ref>[https://www.archives.com/1940-census/benito-serrapica-ny-65186297?FirstName=Ben&LastName=Serrapica&Location=NY&folderImageSeq=724 Benito Serrapica (son of Pasquale & Anna Serrapica) and his siblings: Louis, John, Carmela, Silvie, Ida, Nancy, Romeo, Julio in the US Census of 1940 Kings County, NY on archives.com]</ref><ref>[https://www.archives.com/1940-census/madeline-serrapica-ny-65186298 Madeline Serrapic (daughter of Pasquale & Anna Serrapica) and her siblings: Louis, John, Carmela, Silvie, Ida, Nancy, Romeo, Julio in the US Census of 1940 Kings County, NY on archives.com]</ref><ref>[https://dp.la/item/28119e73c177c00a88569c6859f9d61e?q=Serrapica%2C+Pasquale Enrollment of Pasquale and Anna Serrapicia and their children: Vincent, Louis, Adolf, John, Carmela, Sylvia, Ida listed on lines #33-41 in the Records of the Bureau of the Census – 1920 Population – Kings County, New York, National Archives No. 91851107 in the National Archives Catalog at https://catalog.archives.gov/id/91851107]</ref> His Italian father immigrated to America from [[Gragnano]], Italy after passing through Ellis Island in 1904 and 1914.<ref>[https://heritage.statueofliberty.org/passenger-result The Statue of Liberty – Ellis Island Foundation – Passenger Search – Pasquale Serrapica on heritage.statueofliberty.org]</ref><ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. the original family name Serrapica is from Gragnano, Italy on jazz.com]</ref> The family owned a grocery store after initially moving to Navy Street in 1905,<ref>[https://books.google.com/books?id=_fGBsabZJoYC&dq=Serrapica+Grocery+Brooklyn%2C+NY&pg=PA2518 "New York Court of Appeals, Records and Briefs 1919 City of New York p. 840, Entry # 2519 – Sworn testimony under oath in 1919 by Pasquale Serrapica that he is an Italian owner of a grocery store on Navy Street in Brooklyn, NY where he has lived for fourteen years- on Books Google.com]</ref> and subsequently taking up residence on 18th Avenue in the [[Bensonhurst]] section.<ref>[https://www.archives.com/1940-census/record?UniqueId=12888151:2442:892 United States Census 1940: John Serrapica & family members residing on 18th Avenue, Brooklyn, NY on archives.com]</ref> His formal musical education included studies with the accordionist Joseph Rossi from 1926 to 1929 at the [[Pietro Deiro]] School in New York. At the age of fifeteen he performed live on the Italian radio station WCDA.<ref>{{cite news |id={{ProQuest|98745168}} |title=Today on the Radio |url=https://www.nytimes.com/1930/12/02/archives/today-on-the-radio.html |work=The New York Times |date=2 December 1930 }}</ref> By the age of nineteen, Serrapica was already enrolled as a member of the [[American Federation of Musicians]] in 1934.<ref name="Serrapica p. 398">[https://books.google.com/books?id=zvO4JsTZB8oC&q=John+Serrapica Directory and Instrumentation: Local #802 American federation of Musicians, Associated Musicians of Greater New York. Publisher: American Federation of Musicians- Local 802, New York 1934 p. 398 John Serrapica on Google.com/books]</ref> In addition, he undertook studies in piano and harmony with Albert Rizzi from 1929 to 1932 and in harmony and counterpoint with Gene Von Hallberg for two years.<ref name="article10">"Biography", ''Accordion World'', March 1946, Vol. 11, #11, p. 3</ref> Von Hallberg served as a cofounder of the [[American Accordionists Association]] in 1938.<ref>[http://www.ameraccord.com/2018graphics/AAA-Formation.htm "American Accordionists' Association" Photograph of founding members includes Gene Von Hallburg and Joe Biviano March 9, 1938 on ameraccord.com]</ref> Hallberg later appeared in the Magnante Quartet before an audience of three thousand concertgoers at Carnegie Hall in 1939 <ref>[https://www.ksanti.net/free-reed/essays/cheered.html ''The Free Reed journal'' – "1939 Magnante Concert at Carnegie Hall Part 3 -As Thousands Cherred" reprinted from ''Accordionin World'', New York, NY, May 1939. Gene Von Hallberg & the Charles Magnante Quartet: Abe Goldman &Joe Biviano at Carnegie Hall, 1939 on www.ksanti.net]</ref><ref>[https://books.google.com/books?id=eTJEAQAAIAAJ&dq=Charles+Magnante+Carnegie+Hall+1939&pg=PA84 ''The Musician'' – "Thumbnail Reviews – New York Recitals in Retrospect--Carnegie Hall -review of the Charles Magnanate Quartet with Gene Von Hallberg at Carnegie Hall, May 1939 p. 84 on Google Books]</ref> A lifelong friendship with the accordionist Louis Del Monte was established as a result of these studies. Del Monte awakened Serry's interest in Latin American music.<ref name="article10"/> Advanced studies in harmony and orchestration were completed under the instruction of the composer [[Robert Strassburg]] in the 1940s.

==Career==
=== The 1930s: The big band era ===
[[File:Rainbow room.jpg|thumb|upright=.90|right|[[Rainbow Room]] in Rockefeller Center, New York City]]
The period from 1938 to 1960 has been described as a unique period of prestige for the accordion in the United States when it attained more widespread acceptance by the public as a "serious instrument" on the concert hall stage.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Magnante+Accordion+Quartet&pg=PA50 "Squeeze This: A Cultural History of the Accordion in America". Jacobson, Marion. University of Illinois Press, 2012, p. 50-51 (Chapter Two: ''SqueezeBox Bach: The Classical Accordion'') on google.com/books]</ref><ref name=Jacobson2007>{{cite journal |last1=Jacobson |first1=Marion S. |title=Searching for Rockordion: The Changing Image of the Accordion in America |journal=American Music |date=2007 |volume=25 |issue=2 |pages=216–247 |doi=10.2307/40071656 |jstor=40071656 }}</ref> At the age of sixteen, Serrapica had already performed as a soloist on the AM radio station [[WADO|WOV]] in New York City during several live broadcasts in 1931.<ref>{{cite news |id={{ProQuest|99529553}} |title=Today on the Radio |url=https://www.nytimes.com/1931/01/06/archives/today-on-the-radio.html |work=The New York Times |date=6 January 1931 }}</ref><ref>{{cite news |id={{ProQuest|99511360}} |title=Today on the Radio |url=https://www.nytimes.com/1931/01/15/archives/today-on-the-radio.html |work=The New York Times |date=15 January 1931 }}</ref><ref>{{cite news |id={{ProQuest|99509304}} |title=Today on the Radio; OUTSTANDING EVENTS ON THE AIR TODAY |url=https://www.nytimes.com/1931/01/22/archives/today-on-the-radio-outstanding-events-on-the-air-today.html |work=The New York Times |date=22 January 1931 }}</ref> With the help of Del Monte, in the 1930s Serry continued his professional career by making appearances with the Ralph Gomez Tango Orchestra at [[The Rainbow Room]] at the RCA Building in Rockefeller Center,<ref name="article9">''Accordion News'', March, 1935</ref> leading to an extended engagement there in 1935.<ref name="article9" /> He also played with the Hugo Mariani Tango Orchestra at the Waldorf Astoria Hotel in New York <ref name="article10"/> and once again in Chicago with Frank Pruslin and Syd Fox (1936)<ref>[https://books.google.com/books?id=LJ5peQ2vYrgC&q=John+Serry+Copyright Accordion News Vols. 5-6 Louis Siquier. 1936 p. 4 "John Serry Frank Pruslin and Sy Fox with...Hugo mariani Orchestra ...at Chicago". John Serry Copyright on Google Books]</ref> and with Alfred Brito, a Cuban orchestra leader in New York (1936), and Misha Borr, conductor of the [[Waldorf-Astoria Orchestra]].<ref name="article10" /> He appeared as a soloist for society functions at the Waldorf Astoria Hotel's Waldorf Towers and at its Starlight Roof with the Lester Lanin Orchestra. In addition, he performed regularly at clubs such as [[El Morocco]], the Rainbow Room, El Chico, and the Riviera in New York City.<ref name="article9"/>

The "golden age of the accordion" continued to evolve in America from 1910 to 1960 and some piano accordionists suddenly enjoyed acceptance as performers within the best known dance bands, jazz ensembles and big band ensembles such as the [[Paul Whiteman]] orchestra.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=Paul%20Whiteman ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 p. 124 Paul Whiteman featured the accordion on Google Books.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – accordionists gain acceptance in dance bands, jazz ensembles and big bands on GoogleBooks.com]</ref> As the decade came to a close, Serry acquired a position with the jazz ensemble [[Shep Fields and His Rippling Rhythm]] during a nationwide tour which included live radio broadcasts from the Palmer House Hotel in Chicago, Illinois, and the Millennium Biltmore Hotel in Los Angeles, California, over the NBC network (1937–1938).<ref name="article8" /><ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' by John Serry: "John Serry...toured the United States with Shep Fields' Orchestra" – See the album on archive.org]</ref> These [[big band remote]] broadcasts used Zenith's Radiogran technology. In 1937, he also recorded the distinctive Shep Fields' theme song with the Shep Fields Rippling Rhythm Orchestra for [[Eli Oberstein]] on RCA Victor's Bluebird label (Victor, BS-017494, 1937).<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200030373/BS-017494-Shep_Fields_theme_song_recorded_for_Mr.Oberstein "Shep Fields Theme Song recorded for Mr. Oberstein / Shep Fields Rippling Rhythm Orchestra" – John Serry (instrumentalist accordion) on the Discography of American Historical Recordings]</ref> His performances as a member of the orchestra are also documented in the film ''[[The Big Broadcast of 1938]]'' ("This Little Ripple Had Rhythm" and "[[Thanks for the Memory]]"), which won the Academy Award for Best Original Song in 1939. While touring with Shep Fields, he also recorded several popular songs of the time for Bluebird Records, including "[[With a Smile and a Song (song)|With a Smile and a Song]]", "[[Whistle While You Work]]", and "[[Now It Can Be Told]]".<ref name="Rust1975">{{cite book |last1=Rust |first1=Brian |title=The American Dance Band Discography 1917-1942: Irving Aaronson to Arthur Lange |date=1975 |publisher=Arlington House |isbn=978-0-87000-248-9 |pages=516–517 }}</ref><ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=100000 "Discography of American Historical Recordings" – John Serry on adp.library.ucsb.edu]</ref>

At the young age of only 23 in 1938, Serry was already collaborating on stage with several noted accordionists of the early 20th century including: Andy Arcari, Anthony Mecca, Domenic Mecca, [[Pietro Deiro]] and Joe Biviano.<ref>[https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry, Andy Arcari, Anthony Mecca, Domenic Mecca, Pietro Deiro and Joe Biviano in concert at the Stevens Hotel. Google search for "John Serry AFM" and click on "EmPo- World Radio History" or See the link on this page at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref><ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=Joe%20biviano ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 p. 124 Pietro Deiro & Joe Biviano: virtuoso accordionists of the decade following the mid 1920s on Google Books.com]</ref> The six accordionists joined forces at the north ballroom of the legendary [[Stevens Hotel]] in Chicago for an "Accordion Jamfest" before an audience of over 1000 concertgoers in September 1938.<ref>[https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf ''Tempo'' – "Accordionists Stage a 'Jam Session'" Vol 6, No. 3, 1938 p. 4 Photograph and caption identifying John Serry, Andy Arcari, Anthony Mecca, Domenic Mecca, Pietro Deiro and Joe Biviano in concert at the Stevens Hotel. Google search for "John Serry AFM" and click on "EmPo- World Radio History" or See the link on this page to at https://worldradiohistory.com/Archive-All-Music/Music-Miscellaneous/Tempo-1938-09.pdf]</ref> The concert occurred soon after Andy Arcari's noted accordion recital at Philadelphia's Academy of Music in May 1938, where critics praise him for his brilliance.<ref>[https://content.time.com/time/subscriber/article/0,33009,882997,00.html ''Time'' – "Music: Accordionist" Andy Arcari in recital at the Philadelphia Academy of Music in May 1938 on content.time.com]</ref> In a few short months both Biviano and the Mecca brothers would appear with Charles Magnante, Gene Von Hallberg and Abe Goldman to introduce the accordion in recital for the first time to an audience of classical music concertgoers in Carnegie Hall (April, 1939).<ref>[https://books.google.com/books?id=eTJEAQAAIAAJ&dq=Charles+Magnante+Carnegie+Hall+1939&pg=PA84 ''The Musician'' – "Thumbnail Reviews – New York Recitals in Retrospect--Carnegie Hall -review of the Charles Magnanate Quartet with Gene Von Hallberg, Abe Goldman, Anthony Mecca, Domenic Mecca, Joe Biviano at Carnegie Hall, May 1939 p. 84 on Google Books]</ref><ref>[https://www.ksanti.net/free-reed/essays/cheered.html ''The Free-Reed Journal'' – "1939 Magnante Concert at Carnegie Hall: Part 3 As thousands Cheered" -Mganante, Biviano, Anthony Mecca, Domenic Mecca, Gene Von Hallberg, Abe Goldman in the first accordion recital held at Carnegie Hall on 4/18/1939 on ksanti.net/free-reed/essays/cheered.html]</ref><ref>{{cite book | last=Jacobson | first=Marion S. | title=Squeeze this! : a cultural history of the accordion in America | publisher=University of Illinois Press | publication-place=Urbana | date=2012 | isbn=978-0-252-03675-0 | oclc=826684860 | chapter = Squeezebox Bach-The Classical Accordion}}</ref>

=== The 1940s: The golden age of radio ===
Serry married Julia Trafficante in the 1940s and moved to [[Nassau County, New York]] on Long Island to raise a family of four children which included [[John Serry Jr.]]<ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. one of four children raised by John and Julia Serry on jazz.com]</ref> The original family name of Serrapica was anglicized by John to Serry.<ref>[https://web.archive.org/web/20120831061253/http://www.jazz.com:80/encyclopedia/serry-john Encyclopedia of Jazz Musicians: John Serry – biography of John Serry Jr. – the family name of Serrapica was shortened by John Serry Sr to Serry on jazz.com]</ref> He simultaneously undertook private studies with: Joscha Zade in piano (1945–1946); Arthur Guttow, an organist at the [[Radio City Music Hall]] (1946);<ref>''The New York Times'', November 18, 1945, p. 50</ref> and [[Robert Strassburg]] in Orchestration and Advanced Harmony (1948–1950). He specialized in the works of [[Gershwin]], [[Debussy]], and [[Ravel]].<ref name="article11">"Who Is Who In Music International 1958", ''Who Is Who In Music International'', Chicago, IL. Biographical File # B11719. See [[International Biographical Center]], Cambridge, England as current publisher.</ref>
[[File:Ny-town-hall.jpg|thumb|upright=.85|left|[[The Town Hall (New York City)|Town Hall]] in New York City]]
During the 1930s and 1940s many accordionists emerged as performers on American radio, the new mass entertainment medium of the time.<ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 3 Accordion performers on the radio: Charles Magnante on Google Books]</ref> Building upon his concert experiences of the 1930s, Serry entered the golden age of radio performing on the CBS radio network and assisted several concert artists in New York City including the French diseuse [[Marianne Oswald]] (aka Marianne Lorraine) in her English speaking debut of "One Woman Theatre" performing the poem ''Mr. Lincoln and His Gloves'' (by [[Carl Sandburg]]), ''Never Before'' (by [[Archibald MacLeish]]) and poems by [[Jean Cocteau]] and [[Jacques Prevert]] at Town Hall (1942).<ref>[https://archive.today/20070814110438/http://www.thenation.com/archive/detail/13485324 "Marianne Lorraine" performs at Town Hall", ''The Nation'', March 7, 1942, p. 10 on archive.ph]</ref><ref name="article2" /><ref name="DISEUSE IN DEBUT HERE">{{cite news |id={{ProQuest|106170249}} |title=DISEUSE IN DEBUT HERE; Marianne Lorraine Presents 'One Woman Theatre' at Town Hall |url=https://www.nytimes.com/1942/03/01/archives/diseuse-in-debut-here-marianne-lorraine-presents-one-woman-theatre.html |work=The New York Times |date=1 March 1942 }}</ref> The concert was hosted by the Free World Association and presented with the patronage of [[Eleanor Roosevelt]] .<ref>[https://www.google.com/search?q=Free+World+Association+Eleanor+Roosevelt+Feb.+1942&tbm=bks&ei=OwC3Y7bnGrfKytMP5fypyA8&start=10&sa=N&ved=2ahUKEwj28Kv68bD8AhU3pXIEHWV-CvkQ8NMDegQIDxAW&biw=1920&bih=937&dpr=1 ''Free World'' Vol. 2 p. 94 "The Free world Association presents Marianne Oswald...John Serry accordionist...Patroness Mrs. Franklin D. Roosevelt" – Free World Association Eleanor Roosevelt Feb. 1942 on Google Books]</ref><ref>[https://www.google.com/search?q=Free+World+Association+Marianne+Oswald+1942&biw=1034&bih=844&tbm=bks&ei=zAS3Y6_IOviEytMPod2o8A4&ved=0ahUKEwiv3oGo9rD8AhV4gnIEHaEuCu44FBDh1QMICQ&uact=5&oq=Free+World+Association+Marianne+Oswald+1942&gs_lcp=Cg1nd3Mtd2l6LWJvb2tzEANQmgdYqDpg-EJoBnAAeACAAc8DiAGTC5IBBjIxLjQtMZgBAKABAcABAQ&sclient=gws-wiz-books ''Free World'' – A Monthly Magazine devoted to Democracy, p. 94 "The Free World Association presents...Marianne Oswald...John Serry accordionist...Town Hall, February28, 1942" Free World Association Marianne Oswald 1942 on Google Books]</ref> This performance was praised in ''The Players Magazine – National Journal of Educational Dramatics'' as a "fresh experience and intriguing in its uniqueness."<ref name="ReferenceD">[https://books.google.com/books?id=3WBCAQAAIAAJ&q=John+Serry "Players Magazine: The National Journal of Educational Dramatics...Vols 18-21" --Review of "Miss Lorraine's rendition of poems...against a background of music by distinguished contemporary musicians...John Serry on the accordion" on Books Google]</ref> ''The New York Times'' described it as being skillfully presented.<ref name="Players">{{cite book|title=The Players Magazine – National Journal of Educational Dramatics |url=https://books.google.com/books?id=vsJYAAAAMAAJ |access-date=25 July 2018 |volume=18–19 |year=1941|publisher=National Collegiate Players|page=25}}</ref><ref name="DISEUSE IN DEBUT HERE"/> For ten years Serry performed as an original member of [[Alfredo Antonini]]'s CBS Pan American Orchestra (1940–1949)<ref>{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}} (See the photograph showing Serry seated as the accordionist in the orchestra above the caption "The Latin-American artist Juan Arvizu with the CBS Pan American Orchestra conducted by Alfredo Antonini")</ref><ref>[https://www.google.com/search?q=CBS+Pan+American+Orchestra++A+Pictorial+History+of+Radio&biw=1600&bih=789&tbm=bks&ei=2YSjY_TjJPP-9AOtlrHQBA&ved=0ahUKEwi0tIXP3Yv8AhVzP30KHS1LDEoQ4dUDCAk&uact=5&oq=CBS+Pan+American+Orchestra++A+Pictorial+History+of+Radio&gs_lcp=Cg1nd3Mtd2l6LWJvb2tzEAM6BAghEApQAFjqSWDYTGgBcAB4AIABkQGIAawakgEENi4yNJgBAKABAcABAQ&sclient=gws-wiz-books "A Pictorial History of Radio" by Irving Settel Caption for the photograph of the CBS Pan American Orchestra with Juan Arvizu conducted by Alfredo Antonini on Page 146 on Books.Google]. Accessed December 29, 2022.</ref><ref name="article4">''The New York Times'', November 5, 1983, p. 34</ref><ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' by John Serry: "John Serry...appeared under the direction of Alfredo Antonini" – See the album on archive.org]</ref> on the ''[[Viva América]]'' program for the Department of State's [[Office of Inter-American Affairs]] (OCIAA) in support of its [[cultural diplomacy]] initiatives.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Photograph of John Serry accordionist on CBS' C de Las A program circa 1940s p. 3, Series 3, Collection Box 3, Item 1: The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref>
<ref name="Viva">{{cite web |last1=Goldin |first1=J. David |title=Copyright 2018, J. David Goldin |url=http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America |website=Radiogoldindex.com |access-date=July 25, 2018 |archive-date=February 6, 2012 |archive-url=https://web.archive.org/web/20120206070142/http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America |url-status=dead }}</ref><ref name="article10" /><ref name="article4" /><ref>''The New York Times'', June 9, 1946, p. 49</ref><ref name="auto10">{{cite book|url=https://books.google.com/books?id=Qx00pQIkclMC&pg=PA166 |title=Dissonant Divas in Chicana Music: The Limits of la Onda|first=Deborah R.|last=Vargas|date=November 26, 2018|publisher=University of Minnesota Press|page=166 |access-date=November 26, 2018 |via=Google Books|isbn=9780816673162}}</ref><ref name="books.google.com">Media Sound & Culture in Latin America & The Caribbean. Editors: Bronfman, Alejandra & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, 2012, p. 49; {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 Pan-Americanism & CBS & "Viva America" on Books.Google.com See pp. 48-49]</ref> He also worked with Antonini, Nestor Mesta Chayres and members of the [[New York Philharmonic]] in the ''Night of the Americas Concert'' gala at Carnegie Hall in 1946.<ref name="article5" /><ref>{{cite web|url=https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Alfredo+Antonini&search-dates-from=&search-dates-to=|title=New York Philharmonic|access-date=December 29, 2022|website=archives.nyphil.org}}</ref>

During this period, several international concert musicians also appeared on ''Viva America'' or recorded music with Antonini's Viva America Orchestra including:<ref>[https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49 CBS Pan American Orchestra, Alfredo Antonini, Terig Tucci, Juan Arvizu, Nestor Chayres, Elsa Miranda, "Viva America" on Books.Google.com See p. 49]</ref> [[Terig Tucci]] (1942)<ref name="biog"/><ref>''The New York Times'', January 18, 1942, p. 27</ref><ref name="article6">''The New York Times'', January 17, 1942, p. 30</ref><ref>''The New York Times'', January 16, 1942, p. 19</ref><ref>''The New York Times'', January 14, 1942, p. 24</ref> [[Juan Arvizu]] (1940s);<ref>''The New York Times'', May 5, 1941, p. 32</ref> [[Nestor Mesta Chayres]] (1940s);<ref>''The New York Times'', April 23, 1944, p. X5</ref> [[Eva Garza]] (1940s);<ref>''The New York Times'', January 23, 1944, p. X9</ref><ref name="auto8"/> [[Elsa Miranda]] (1940s),<ref name="Media">{{cite book |editor1-last=Bronfman |editor1-first=Alejandra |editor2-last=Wood |editor2-first=Andrew Grant |title=Media, Sound, and Culture in Latin America and the Caribbean |date=2012 |publisher=University of Pittsburgh Press |location=Pittsburgh, PA |isbn=978-0-8229-6187-1 |page=49 |url=https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49}}</ref><ref name="Banana">{{cite magazine|magazine=Billboard|title=Banana E.T. Proves Good Eating for Elsa Miranda|url=https://books.google.com/books?id=YBgEAAAAMBAJ&pg=PT3 |access-date=July 25, 2018|date=February 2, 1946|pages=3–}}</ref><ref name="Bratkovich2014">{{cite book|last=Bratkovich|first=Colin|title=Just Remember This |url=https://books.google.com/books?id=5WwBBQAAQBAJ&pg=PA173 |access-date=July 25, 2018|date=May 8, 2014|publisher=Xlibris |isbn=978-1-4836-4519-3 |page=173}}</ref> [[Los Panchos]] Trio (1946),<ref>[https://books.google.com/books?id=ql_sDwAAQBAJ&dq=CBS+Pan+American+Orchestra+Alfredo+Antonini&pg=PT74 ''Beyond the Black and White TV: Asian and Latin American Spectacle in Cold War America''. Han, Benjamin M. Rutgers University Press, 2022 "Viva America" Edmund Chester and Los Panchos on Google Books]</ref><ref>[https://books.google.com/books?id=DBoEAAAAMBAJ&dq=Los+Panchos+trio+La+Palma&pg=PT28 The Billboard – Music Popularity Charts: Alfredo Antonini and his Viva America Orchestra record album with Los Panchos Trio (Pilotone 5067) November 16, 1946, p. 29 on books.google]</ref><ref>[https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995988?adppopup=true Photograph of Los Panchos Trio and Manolita Arriola on the Viva America Show 1946 on Getty Images]</ref> and [[Manolita Arriola|Manuolita Arriola]] (1946)<ref>[https://www.gettyimages.com/detail/news-photo/viva-america-a-cbs-radio-program-featuring-latin-america-news-photo/905995940?adppopup=true Photograph of Manolita Arriola and Nestor Chayres for "Viva America" 1946 CBS on Getty Images]</ref> Under the supervision of [[Edmund Chester]], these performances were beamed over CBS' Network of the Americas ("La Cadena de las Americas") across the Latin America continent to over twenty countries<ref name="Qx00pQIkclMC p. 152-155">[https://books.google.com/books?id=Qx00pQIkclMC&q=ociaa&pg=PA166 OCIAA, CBS' Cadena de las Americas, Edmund Chester, Viva America, Office of War Information & Armed Forces Radio Service ''Dissonant Divas in Chicana Music the Limits of La Onda''. Vargas, Deborah. University of Minnesota Press, Minneapolis, MN, 2012 p. 152-155 on Google Books]</ref><ref>''Time'' – Radio: La Cadena, June 1, 1942 [http://content.time.com/time/subscriber/article/0,33009,790530-1,00.html William S. Paley, Edmund Chester, La Cadena de las Americas -CBS broadcast network to South America for news and cultural programs on Content.time.com]</ref> and rebroadcast by the United States Office of War Information and the United States Armed Forces Radio Service.<ref>{{cite book |url=https://books.google.com/books?id=L3WyZ9A4_XEC&pg=PA198 |title=The Directory of the Armed Forces Radio Service Series |first=Harry|last=Mackenzie |date=26 November 1999 |publisher=Greenwood Publishing Group|page=H 21|access-date=26 November 2018 |via=Google Books|isbn=9780313308123 }}</ref><ref>[https://books.google.com/books?id=L3WyZ9A4_XEC&q=Viva+America&pg=PA198 ''The Directory of the Armed Forces Radio Service Series'' H-21 VIVA AMERICA on Google Book]</ref><ref name="Qx00pQIkclMC p. 152-155"/> Performances by members of Antonini's CBS Pan American Orchestra on ''Viva America'' have been credited with helping to introduce Latin American music and the Mexican [[bolero]] to large audiences in the United States in the 1940s.<ref name="auto9"/><ref name="auto8"/>

In addition, Serry also recorded examples of music unrelated to the bolero. During the 1940s he collaborated with the Mischa Borr Orchestra and the vocalist [[Sidor Belarsky]] to record several Russian and Ukrainian folk songs for Victor records including: "[[Dark Is the Night (Soviet song)|Dark Night]]" (Victor 26–5037, 1946) by [[Nikita Bogoslovsky]],<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005388/D6FB-2220-Dark_night Victor matrix D6FB-2220 Audio recording of "Dark Night" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "Hobo Song" (aka "Mother") (Victor 26–5036, 1946) by [[Valery Zhelobinsky]],<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005403/D6FB-2221-Hobo_song Victor Matrix D6FB-2221 Audio recording of "Hobo Song" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "By the Cradle" (Victor 26–5035, 1946),<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005390/D6FB-2222-By_the_cradle Victor Matrix D6FB-2222 Audio recording of "By the Cradle" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref> "Katusha" (Victor 26–5035, 1946) by [[Hy Zaret]]<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/300005391/D6FB-2223-Katusha Katusha Victor Matrix D6FB-2223 Audio recording of "By the Cradle" -vocalist Sidor Belarsky, accordionist John Serry on Discography of American Historical Recordings – University of California Santa Barbara Library]. Accessed December 29, 2022.</ref><ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 John Serry accordionist, Sidor Belarsky vocalist & Mischa Borr Orchestra recordings listed on The University of California Santa Barbara Library's Discography of American Historical Recordings]. Accessed December 29, 2022.</ref> In 1946 he also made a guest appearance as the "outstanding accordionist of the year" on [[Gordon Macrae]]'s ''Skyline Roof'' broadcast under the direction of [[Archie Bleyer]] on the WABC-CBS network and as a guest on the ''Danny O'Neil Show''.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Item 8 audio disc p. 18 in The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 4 Recordings: Item 9 p. 18, 12" audio disk of John Serry's guest appearance on the Danny O'Neil Show in the John J. Serry Sr. Collection archived at the University of Rochester Eastman School of music on esm.rochester.edu]</ref><ref name="otrrpedia.net">{{Cite web |url=http://otrrpedia.net/getprogram1.php?item=2485 |title=Gordon MacRae Show, the |access-date=March 8, 2017 |archive-url=https://web.archive.org/web/20170309071138/http://otrrpedia.net/getprogram1.php?item=2485 |archive-date=March 9, 2017 |url-status=dead }}</ref> By 1948, he also appeared in concert with Mischa Borr's Orchestra at the Waldorf Astoria Hotel's Wedgewood Room.<ref name="google.com"/>
{{external media|float=right|width=125px|image1=Photograph of John Serry on the CBS radio network circa 1940s in the John J. Serry Sr. Collection Archive. [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf '''Here on Esm.rochester.edu''']}}

Serry recorded his work "Leone Jump" as a member of the Biviano Accordion & Rhythm Sextette with [[Tony Mottola]] on guitar and Angelo Delleria on accordion for Sonora Records in 1945.<ref name="ReferenceA">{{cite web |url=https://archive.org/details/78_swing-low-sweet-chariot_joe-biviano-his-accordion-and-rhythm-sextette-john-serry_gbia0037324|title=Leone Jump; Swing Low, Sweet Chariot; The Jazz Me Blues; Nursery Rhymes |first1=his Accordion and Rhythm Sextette|last1=Joe Biviano|last2=Tom Delaney|last3=John Serry|access-date=November 26, 2018|website=Archive.org}}</ref><ref name="auto5">{{cite web|url=https://archive.org/details/mbid-47ec1899-c909-4d5f-b38c-4920df8f57d9|title=Accordion Capers|first=his Accordion and Rhythm Sextette |last=Joe Biviano|date=November 26, 2018|access-date=26 November 2018|website=Archive.org}}</ref><ref name="hubcap.clemson.edu">{{cite web|url=http://campber.people.clemson.edu/sonora.html |title=The Sonora Label|website=Campber.people.clemson.edu|access-date=November 26, 2018}}</ref><ref name="Inc.1946">{{cite magazine |title=Record Reviews |magazine=Billboard |url=https://books.google.com/books?id=9BkEAAAAMBAJ&pg=PA124 |date=April 27, 1946|page=124 |issn=0006-2510}}</ref> The album includes performances of "[[Little Brown Jug (song)|Little Brown Jug]]", "Golden Wedding", "[[Swing Low Sweet Chariot]]", "[[That's a Plenty]]", and "The Jazz Me Blues".<ref name="web.archive.org">{{cite web |url=http://www.classicjazzguitar.com/albums/artist_album.jsp?album=747|archive-url=https://web.archive.org/web/20021107052600/http://www.classicjazzguitar.com/albums/artist_album.jsp?album=747|archive-date=2002-11-07|title=Classic Jazz Guitar – Albums |date= November 7, 2002 |access-date=November 26, 2018 }}</ref><ref name="auto5"/> His composition "Fantasy in F" was completed during this decade in 1946.<ref name="Congress Copyright Office 1946, Pg. 153">The Library of Congress Copyright Office, ''Fantasy In F (Fantasia, Accordion, F Major)'', Composer John Serry, 1946, Copyright #EP7274 [https://archive.org/stream/catalogofcopyrig413libr#page/152/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 153]</ref> The critic Henry Doktorski has described it as a "novelty piece" and likened it to [[Zez Confrey]]'s composition "Dizzy Fingers".<ref>[https://www.ksanti.net/free-reed/reviews/ktrio.html ''The Free-Reed Review''- "CD Review: The K Trio" by Henry Doktowski – "Fantasy in F" by John Serry likened to Zez Confrey's "Dizzy Fingers" on ksanti.net]</ref> In 1946 he also appeared in the "Accordion World" concert at Manhattan Center with the accordionists Angello Dellairia and Joeseph Biviano.<ref>[https://www.google.com/search?q=John+Serry+accordion&tbm=bks&ei=BhTYY5TNCser0PEPkb-UgAw&start=30&sa=N&ved=2ahUKEwiU6Ky8_e_8AhXHFTQIHZEfBcA4FBDw0wN6BAgPEBs&biw=1553&bih=789&dpr=1 ''The Music Magazine/Musical Courier'' Volumes 133-134 1946 p. 34 Acordion World Concert at Manhattan Center...Joe Biviano, Angelo Dellairia, John Serry accordionists on Google Books]</ref> Later in 1949, the accordionist Joe Biviano collaborated with the RCA Victor Accordion Orchestra to record Serry's composition "Manhattan Hop" for RCA Victor.<ref name="BNF">{{cite web |title=BnF Catalogue général |url=http://catalogue.bnf.fr/ark:/12148/cb38585245q |website=Catalogue.bnf.fr |access-date=25 July 2018 |language=fr}}</ref><ref name=Archive.org>{{cite web |url =https://archive.org/details/78_manhattan-hop_joe-biviano-rca-victor-accordion-orchestra-john-serry_gbia0250375b |title = Manhattan Hop by Joe Biviano, RCA Victor Accordion Orchestra (20-3388-B), John Serry|access-date=8 December 2021|website=Archive.org}}</ref> He also recorded several popular songs for Victor Records as a member of the noted [[Charles Magnante]] Accordion Band in 1941 including: "Clarinete Polka", '"Halli-Hallo- Halli", "Le Secret" and "Swing Me A Polka".<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John John Serry (aka John Serrapica) as a member of the Magnante Accordion Band on the University of California – Santa Barbara Library's: Discography of American Historical Recordings at adp.library.ucsb.edu]. Accessed December 29, 2022.</ref> Both Magnante and Biviano were cofounders of the American Accordionists' Association several years earlier in 1938.<ref>[http://www.ameraccord.com/2018graphics/AAA-Formation.htm "American Accordionists' Association" Photograph of founding members including Charles Magnante and Joe Biviano], March 9, 1938 on ameraccord.com</ref><ref>[https://books.google.com/books?id=0Rjn2wL0NzMC&dq=American+Accordionists+Association&pg=PA169 ''The Accordion of the Americas: Klezmer, Polka, Tango, Zydeco and More!''] Simonett, Helena. University of Illinois Press 2012 p. 169 {{ISBN|9780252037207}} Citation for Charles Magnanate and Joe Biviano identified as cofounders of the American Accordionists' Association (1939) on Google Books</ref>

By the end of the 1930s an "accordion craze" had swept the nation.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=accordion ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 pp. 124-125 Accordion craze nationwide on Google Books.com]</ref> Numerous accordion studios soon emerged within the major ethnic population centers of the East coast, as well as within the rural South and West with an estimated enrollment of over 35,000 students in 1938.<ref>[https://books.google.com/books?id=bAzGNogQmM4C&q=accordion ''A Passion for Polka: Old-Time Ethnic Music in America''. Greene, Victor. University of California Press, 1992 pp. 124-125 Accordion craze and accordion studio enrollments soar on Google Books.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – accordion schools appear nationwide enrolling hundreds of thousands of young students on GoogleBooks.com]</ref> As an educator, Serry founded and operated a music studio in Jamaica, Queens in New York City<ref>[http://www.accordionusa.com/?d=01-Mar-2017&lang=en#art2903 "Accordion USA"- ''A Boy and His Box'' by Joe De Clemente – John Serry identified as an accordion teacher in Jamaica, Queens in 1961] on accordionusa.com</ref> and Long Island, New York.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry The biographical profile on the album ''Squeeze Play'' shows "John Serry...devoted himself to the teaching of his chosen instrument"] on archive.org</ref> Between 1945 and the late 1980s he provided instruction on accordion, piano, and organ.<ref name="biog">{{cite magazine|magazine=Accordion World|title=Biography |place=Bedford Hills, New York|date=March 1946 |volume=11 |issue=11 |page=3}}</ref><ref name="Gliding">{{cite news |title=Auricle is Gliding with Good Reviews |url=https://www.newspapers.com/newspage/136970688/ |access-date=25 July 2018 |work=Democrat and Chronicle |date=7 July 1978 |location=Rochester, New York |page=13}}</ref> His pupils included Anthony Ettore, president of the American Accordionist's Association,<ref>{{cite web |url=http://www.aamsaccordionfestival.com/2005/ettore.html |title=2005 Honoree – Tony Ettore |access-date=2011-07-07 |url-status=dead |archive-url=https://web.archive.org/web/20110707072342/http://www.aamsaccordionfestival.com/2005/ettore.html |archive-date=2011-07-07}}</ref> Michael Torello, a composer and accordionist<ref>[https://libraries.uta.edu/search?Bquery=Michael+Torello UTA Libraries: "Montclair State College School of Fine and Performing Arts Presents The American Society of University Composers Region II Conference" – Biography of Michael Torello – "he moved... to New York City where he studied the accordion with John Serry and later joined the staff at the Serry Studio", Publisher – Montclair State College, New Jersey, 21 February 1987 p. 17 on libraries.uta.edu]</ref><ref>[https://www.newspapers.com/article/bennington-banner/53218532/ Newspapers Ancestry: "Michael Torello" Obituary, Bennington Banner, Vermont, 7 September 1994 p. 16, " Mr. Torello was an accomplished musician of the contra bass, piano and accordion.... and staff accordionist with Serry Studios in Jamaica, NY", Michael Torello on Newspapers Ancestry]</ref> and [[Robert Davine]], an accordionist and educator at the Lamont School of Music at the University of Denver<ref name="Davine">{{cite web |title=Robert Davine: 1924–2001 |url=http://www.ksanti.net/free-reed/essays/davinetribute.html |website=Ksanti.net |access-date=July 25, 2018}}</ref> as well as his son John Serry Jr.<ref>[https://jazzbluesnews.com/2018/02/07/john-serry/ ''Interview with John Serry: Can Jazz be a creative progressive art form?'' February 7, 2018 John Serry Jr. identifies his father John Serry as his first instructor on the accordion at the age of 4-11 on jazzbluesnews.com]</ref><ref>[https://democratandchronicle.newspapers.com/search/#query=John+Serry+Jr. Democrate and Chronicle July 7, 1978 p. 13 John Serry Jr. (pianist) is the son of John Serry -an instructor of piano and accordion, studies accordion at the age of four with his father on democrateandchronicle.newspapers.com]</ref> During the 1950s one of his students, Roy Appey, emerged as the first prize winner in a performance competition hosted by the American Accordionists' Association.<ref>[http://www.ameraccord.com/search.php ''American Accordionists' Association Newsletter'': "AAA Competitions in the '50s", May-June 2020 p. 13 John Serry music studio on ameraccord.com/search.php]</ref> In addition, Serry was invited to contribute to the annual series of Master Accordion Classes and seminars sponsored by the American Accordionists Association in New York City in August 2000.<ref name="Accordion">{{cite web |title=Accordion Weekly News |url=http://www.accordions.com/index/squ/en_squ_00_05_19.shtml#o |website=Accordions.com |access-date=July 25, 2018 |date=May 19, 2000}}</ref>
He also published several method books for his elementary, intermediate, and advanced grade students between 1945 and 1955.<ref name="article10" /><ref name="worldcat.org">[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=1 ''John Serry's Accordion Method Book 3 Intermediate Course'' (1955) on worldcat.org]</ref><ref name="lccn.loc.gov">{{cite book|url=http://lccn.loc.gov/unk84127828|title=LC Catalog – Item Information (Full Record) |via=lccn.loc.gov |access-date=26 November 2018}}</ref> In addition, he took note of the limitations imposed by the [[Stradella bass system]] during performances of classical music. In an effort to circumvent these limitations, he designed and developed a working model of a [[free-bass system]] for the accordion during this decade. It incorporated dual keyboards for the soloist's left hand while incorporating two sets of reeds which were tuned in octaves. This gave the soloist access to a range of tones which exceeded three and one-half octaves.<ref name="Jacobson">{{cite book |last1=Jacobson |first1=Marion |title=Squeeze This!: A Cultural History of the Accordion in America |date=2012 |publisher=University of Illinois Press |location=Urbana, IL |isbn=978-0-252-03675-0 |page=61}}</ref><ref name=Jacobson2007/>

=== The 1950s: Broadway and television ===
[[File:Shubert Theatre NYC.jpg|thumb|upright=0.85|right|[[Shubert Theatre (New York City)|Shubert Theatre]] in New York City Shubert Theatre NYC]]
During the early days of network television in the 1950s, Serry performed at CBS as a staff member of the original CBS Orchestra (1949–1960)<ref name="article11" /> and an accompanist on several live network television programs including ''The Jackie Gleason Show'' in 1953,<ref name="article11" /> ''The Frank Sinatra Show'' in the 1950s,<ref name="article11" /> and on the prime time drama ''I Remember Mama'' in 1953 starring [[Peggy Wood]].<ref>{{cite web |url=http://www.classicthemes.com/50sTVThemes/themePages/mama.html |title=Mama|website=Classicthemes.com|access-date=26 November 2018}}</ref><ref name="article11" /> Following introductions by his young son Robert, he was also featured as a soloist on the talent show ''Live Like A Millionaire'' on the NBC radio network in 1951.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music: Sibley Music Library Special Collections – John J. Serry Sr. Collection Archive: Series 4 Recordings – Item #5, p. 18 Audio Recording of John Serry and his son Robert on the show ''Live Like A Millionaire''. October 22, 1951 the John J. Serry Sr. Collection on Google.com]</ref><ref>[https://books.google.com/books?id=MQTXjvYu8ugC&dq=Live+Like+A+Millionaire+Radio+Show&pg=PA50 Radio: A Complete Guide to the Industry. Richter, William A. P. Lang Publisher. 2006 p. 50 "Radio Talent Shows: Live Like A Millionaire" ISBN 0-8204-8834-8 Live Like A Millionaire Radio Show on google Books]</ref>

In 1951 he also arranged his compositions ''La Culebra'' and ''African Bolero'' for solo flute. He dedicated the scores to his close friend [[Julius Baker]], who subsequently performed them on a demo recording.<ref>[https://search.worldcat.org/title/937406214 "African Bolero", "Desert Rhumba" Musical Scores, Composer John Serry, Dedicatee Julius Baker. See John Serry on Worldcat.org]</ref><ref>[https://search.worldcat.org/title/937406215 "La Culebra" Musical Score, Composer John Serry, Dedicatee Julius Baker. See John Serry on worldcat.org]</ref><ref>{{cite web |url=http://library.juilliard.edu/search/o937406215 |title=See hand written dedication notes "written for and dedicated to my friend Julius Baker, 1951" on Page # 3 of the score |website=Library.juilliard.edu |access-date=26 November 2018}}</ref><ref>{{cite web |url=http://library.juilliard.edu/search/o937406214 |title=See handwritten dedication notes "written for and dedicated to my friend Julius Baker, 1951" on Page # 3 of the score|website=Library.juilliard.edu|access-date=26 November 2018}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 4- Item #6 p. 18, 10" audio disc recording of "Desert Rhumba" & "The Rattlesnake" (La Culebra)" composer John Serry, flautist Julie Baker" in the John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> In the same year, his photograph was featured within an article about the accordion which was published by the journal ''International Musician'' – the official publication of the [[International Federation of Musicians]],<ref>[https://worldradiohistory.com/Archive-All-Music/International-Musician/50s/International-Musician-1951-05.pdf ''International Musician'' – "Accordion Instrument Played with A Smile", Hope Stoddard, May 1951, p. 10-11 Contributing writers Charles Nunzio & Sergei Matsusewitch – Photograph of John Serry within the article published in the journal ''International Musician'' by the American Federation of Musicians posted on worldradiohistory.com]</ref> along with photographs of such noted accordionists as: Louis Del Monte, [[Pietro Frosini]], [[Anthony Galla-Rini]], Charles Magnante, Charles Nunzio, and [[Art Van Damme]].<ref>[https://worldradiohistory.com/Archive-All-Music/International-Musician/50s/International-Musician-1951-05.pdf ''International Musician'' – "Accordion Instrument Played with A Smile", Hope Stoddard, May 1951, p. 10-11 Contributing writers Charles Nunzio & Sergei Matsusewitch – Photographs of: Louis Del Monte, Pietro Frosini, Charles Nunzio, Charles Magnante , Anthony Galla-Rini, Art Van Damme within the article as published in the journal ''International Musician'' by the American Federation of Musicians posted on worldradiohistory.com]</ref> By 1953, he was also photographed by the Bell accordion company as one of several leading accordion artists along with [[Tony Lavelli]] and Vince Geraci.<ref>[https://books.google.com/books?id=DkefSLB2nucC&q=John+J.+Serry+accordionist PTM, Piano trade Publishing Vol. 50 1953 p. 46 John J. Serry accordionist on Google books]</ref>

During this time he also performed under the musical direction of [[Andre Kostelanetz]] at CBS.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' show "John Serry...appearing under the musical direction of Andre Kostelanetz" – See the album on archive.org]</ref> As the first accordionist in the Serry Sextette, he recorded his own arrangements of several popular melodies and classical themes for the [[RCA Thesaurus]] [[electrical transcriptions]]<ref name="Kenney2003">{{cite book|author=William Howland Kenney|title=Recorded Music in American Life: The Phonograph and Popular Memory, 1890–1945|url=https://books.google.com/books?id=Cvk_AP6LwUgC&pg=PA191|date=November 2003|publisher=Oxford University Press|isbn=978-0-19-517177-8|pages=191–}}</ref> catalog in 1954 <ref>[https://www.google.com/search?tbm=bks&q=RCA+Thesaurus+John+Serry Radio Daily-Television Daily. Publisher: Radio Daily Corporation 29 October 1954, p. 8 – "RCA Thesaurus cut a session of Latin-American music, polkas, and novelties with the John Serry Accordion Quartet", RCA Thesaurus John Serry on Google Books]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/ Eastman School of Music: Sibley Music Library: Ruth T. Watanabe Special Collections Dept.- "The John Serry Sr. Collection" – Items donated to the library for archive include an audio recording by the Serry Sextette and his Bel-Cordions for RCA Thesaurus on www.esm.rochester.edu]</ref> during [[Ben Selvin]]'s tenure as [[A & R]] Manager for RCA Victor.<ref>[https://books.google.com/books?id=OUUEAAAAMBAJ&dq=Ben+Selvin+Dot+Records&pg=PA17 The Billboard: "Selvin to Quit Peer for RCA" – Ben Selvin appointed as A & R Manager for RCA Victor Custom Records Division – Thesaurus Library, February 14, 1953 p. 17 on Google Books]</ref><ref>[https://books.google.com/books?id=V0UEAAAAMBAJ&dq=Ben+Selvin+Dot+Records&pg=PA3 The Billboard: "Friends Fete Ben Selvin As He Leaves Industry" – In 1953 he started his decade with RCA Victor, March 23, 1963 p. 3 & p. 6 on Google Books]</ref>
Performances on the radio also continued during this period and included: appearances as a member of the Magnante Accordion Quartet, on ''The Lucky Strike Hour'', ''Waltz Time'', and ''The American Melody Hour (1940s)''. He occasionally substituted for the quartet's founder [[Charles Magnante]].<ref name="article10" />

On the Broadway stage he performed under director [[Harold Clurman]] in a production of [[Arthur Laurents]] play ''[[The Time of the Cuckoo]]'' with [[Shirley Booth]] and [[Dino Di Luca]].<ref name="article12" /><ref name="OxErAAAAIBAJ 2350, p. 12">[https://books.google.com/books?id=OxErAAAAIBAJ&dq=%22John+Serry&pg=PA12&article_id=2350,124787 "Celebrating National Music Week – Accordion Concert" : John Serry – p. 12...appearing with award winner Shirly Booth in "Time of the Cuckoo" See photograph and caption of John Serry in the "Reading Eagle" April 19, 1953 p. 12 on Google Books]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection – Series 3: Scrapbook – contains a clipping with a photograph from the "New York Journal American" May 25, 1953 p. 15 showing the stage cast door from the Empire Theater with Shirley Booth pointing to signatures of the cast of "The Time of the Cuckoo" which includes John Serry's signatue. The John J. Serry Sr. Collection p. 17 Series 3 Scrapbook Box 3 Item 1 archived at the University of Rochester Eastman School of Music on esm.rochester.edu]</ref>
By 1953, he had also arranged music which was edited by [[Lawrence Welk]] and utilized in a course of study for the piano accordion by the U. S. School of Music,<ref>[https://books.google.com/books?id=yDkcAQAAMAAJ&q=John+Serry "Library of Congress- Music and Phonorecords Catalog 1953", p. 881 – "U. S. School of Music" – John Serry arranger, Lawrence Welk editor on google.com/books]</ref> which was described years later as the oldest home study music school chartered by the Board of Regents in New York State with a total worldwide enrollment of over one million students.<ref>[https://books.google.com/books?id=U1TWAAAAMAAJ&dq=U.S.+School+of+Music&pg=RA1-PA739 "Statement of George R. Kemp, President U.S. School of Music" -The United States Congress Senate Committee on Post Office and Civil Service – 1962 p. 739 on Google Books]</ref> The school also utilized his photograph to encourage enrollment in its course of study for the piano accordion.<ref>[https://books.google.com/books?id=r9gDAAAAMBAJ&dq=John+Serry+Popular+Mechanics&pg=PA37 "U. S. Music School – Music Lessons...From Fine Teachers....John Serry-piano accordion" on Google Books]</ref> In the same year, he appeared as a featured soloist at an accordion concert hosted at the [[Rajah Theatre]] in Reading, Pennsylvania.<ref name="ArAAAAIBAJ p. 38"/><ref name="OxErAAAAIBAJ 2350, p. 12"/> He also completed arrangements of popular songs for [[Seeburg Corporation|Seeburg]]'s jukeboxes featuring three accordions, violins, vibes, guitar, bass, percussion and piano. Included among them were: ''[[I Get a Kick Out of You]]'', ''[[Mimi (song)|Mimi]]'', ''[[The One I Love (Belongs to Somebody Else)|The One I Love]]'', ''[[Swingin' Down the Lane]]'', and ''[[Tico-Tico no Fuba|Tico-Tico]]''.<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 4- Folder 8 p. 14 as archived at the University of Rochester Eastman School of Music]</ref>

In 1956 Serry composed, arranged and performed several compositions for [[Dot Records]] (#DLP3024)<ref>[http://bsnpubs.com/dot/dotb.html "Dot Album Discography" DLP-3024 Squeeze Play – John Serry (1956) on bsnpubs.com]</ref> with [[Al Caiola]] and [[Bernie Leighton]] on his album ''[[Squeeze Play (album)|Squeeze Play]]'' <ref name="Inc.1956">{{cite magazine |title=Dot into Pkgs |magazine=Billboard |url=https://books.google.com/books?id=XkUEAAAAMBAJ&pg=PA22 |date=8 September 1956 |pages=22– |issn=0006-2510}}</ref><ref name="BillboardSqueezePlay">[https://books.google.com/books?id=hgoEAAAAMBAJ&pg=PA22 Review of album ''Squeeze Play'', p. 22] in ''[[Billboard (magazine)|The Billboard]]'', 1 December 1956</ref> during [[Billy Vaughn]]'s tenure as music director at Dot Records.<ref>Colin Larkin, ed. (2002). The Virgin Encyclopedia of Fifties Music (Third ed.). Virgin Books. pp. 466/7. {{ISBN|1-85227-937-0}}</ref><ref>[https://www.nytimes.com/1991/09/28/obituaries/billy-vaughn-is-dead-jazz-musician-was-72.html "Billy Vaughn is Dead; Jazz Musician was 72", New York Times Obituary -"Billy Vaughn was music director for Dot Records", September 28, 1991 on Google Books]</ref><ref>[https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/vaughn-billy "Billy Vaughn" Biography on encyclopedia.com]</ref><ref>{{Gilliland |url=https://archive.today/20120805065905/http://www.library.unt.edu/music/special-collections/john-gilliland/t-z |title=T-Z – Interview Index |show=6}}</ref><ref>[http://www.grandorchestras.com/bvaughn/bvaughn_biography.html ''Biography of Billy Vaughn'' : Vaughn becomes music director of Dot Records in 1954 on grandorchestras.com]</ref> The production received a critical review as a new popular album in ''[[The Billboard (magazine)|The Billboard]]'' in 1956 and was cited for establishing a beautiful soothing mood.<ref name="ReferenceB">{{cite web|url=https://books.google.com/books?id=hgoEAAAAMBAJ&pg=PA22|title=Billboard|date=December 1, 1956|page=22|via=Google Books}}</ref> The album was also critically reviewed in ''[[Cash Box (magazine)|Cash Box]]'' magazine later that year.<ref name="worldradiohistory.com">[https://worldradiohistory.com/Archive-All-Music/Cash-Box-Magazine.htm Review of the album "Squeeze Play" in "The Cash Box" magazine – See Album Reviews column on December 8, 1956 p. 38 on americanradiohistory.com]</ref> It features his original composition ''Garden In Monaco'' which is adapted from the theme of an ancient Italian serenade.<ref>[https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry Notes on the album ''Squeeze Play'' describe Serry's oringinal composition ''Garden In Monaco'' – See the album on archive.org]</ref><ref>[https://repertoire.bmi.com/Search/Catalog?Num=ghzHg9frLPth31%252fUPAVsUA%253d%253d&Cae=NyKQPAHJlG6xdIfufIKvLw%253d%253d&Search=%7B%22Main_Search_Text%22%3A%22Garden%20In%20Monaco%22%2C%22Sub_Search_Text%22%3Anull%2C%22Main_Search%22%3A%22Title%22%2C%22Sub_Search%22%3Anull%2C%22Search_Type%22%3A%22all%22%2C%22View_Count%22%3A20%2C%22Page_Number%22%3A0%2C%22Part_Type%22%3Anull%2C%22Part_Id%22%3Anull%2C%22Part_Id_Sub%22%3Anull%2C%22Part_Name%22%3Anull%2C%22Part_Cae%22%3Anull%2C%22Original_Search%22%3Anull%2C%22DisclaimerViewed%22%3Anull%7D&PartType=WriterList&ResetPageNumber=True&PartIdSub=YO0HedHMatLb45JzS23DVw%253d%253d "Garden in Monaco"; composer John Serry on BMI Songview catalog]</ref> Serry was applauded for establishing a wide variety of musical moods with grace, while simultaneously emphasizing a relaxed performance style.<ref name="worldradiohistory.com"/> In 1958 several songs from the album were released once again in France by Versailles records (# 90 M 178) as ''Chicago Musette – John Serry et son Accordéon''.<ref>{{cite web |url=http://www.vintagemusic.fm/release/John-Serry/ |title=Chicago Musette, John Serry |website=Vintagemusic.fm |access-date=26 November 2018 }}</ref><ref name="catalogue.bnf.fr">{{cite web |url=http://catalogue.bnf.fr/ark:/12148/cb38048510x |title=BnF Catalogue général |date=26 November 2018 |website=Catalogue.bnf.fr |access-date=26 November 2018 }}</ref><ref name="auto3">{{cite web|url=https://www.youtube.com/channel/UCKBYJZCilTiv4cvUCDLFWJQ/videos?disable_polymer=1|title=John Serry – Topic|website=YouTube|access-date=26 November 2018}}</ref> Dot Records also released several songs from the album in Japan as part of a compilation recording including the John Serry Orchestra and the Billy Vaughn Orchestra (''Ballroom in Dreamland'', Dot #5006).<ref name="discogs.com">[https://www.discogs.com/release/15138716-Various-Ballroom-In-Dreamland Album: ''Ballroom in Dreamland'' featuring music by the Billy Vaughn Orchestra and the John Serry Orchestra on discogs.com]</ref><ref>[https://www.cdandlp.com/en/various/ballroom-in-dreamland/lp/r2412382082/ ''Ballroom in Dreamland'' – Audio album featuring performances by the Billy Vaughn Orchestra and John Serry on cdandlp.com]</ref> These activities led to Serry's nomination to the "Who Is Who In Music International" in 1958.<ref name="article11" />
His advanced grade composition for accordion, ''[[American Rhapsody]]'' was completed and published during 1955.<ref name="ReferenceE">Library of Congress Copyright Office, ''American Rhapsody'', Composer: John Serry Sr., Copyright: Alpha Music, New York, New York, 1957</ref>

===The 1960s: Liturgical organ music ===
In 1960, Serry emerged as a performer in one of the first stereo recordings of an accordion orchestra on a major label for [[Coral Records]] with such noted instrumentalists as: Joe Biviano, [[Carmen Carrozza]], Angelo Di Pippo and Eugene Ettore.<ref>[https://books.google.com/books?id=oiNtRleCw6wC&q=John+Serry Music Trades: "Accordion Orchestra Featured on New Coral 12" Record" Vol. 109, 1961 p. 84 John Serry on Google Books]</ref><ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra – Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See album cover for performers credits including John Serry, Eugene Ettore, Carmen Carrozza and Angelo Di Pippo. Pietro Deiro on Discogs.com]</ref><ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref><ref>[https://www.bsnpubs.com/decca/coral/coral.html The Coral Album Discography. Edwards, David. Callahan, Mike. Eyrles, Patrice. Watts, Randy. Neely, Timothy. April 27, 2014. CRL-57323 "Pietro Deiro Presents the Accordion Orchestra" (1960) on bsnpubs.com]</ref> The ensemble of sixteen accordionists utilized modified piano accordions to recreate the orchestral sounds of several instruments while performing classical works by: Rimsky-Korsakov, [[Carl Maria von Weber]], Nicolo Paganini and Pyotr Ilyich Tchaikovsky.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref><ref>[https://search.worldcat.org/title/36735352?oclcNum=36735352 "Pietro Deiro Presents the Piano Accordion" See album cover notes. on Worldcat.org]</ref><ref>[https://www.discogs.com/release/12006299-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra Pietro Deiro, Joe Biviano The Accordion Orchestra (Coral, CRL-57323) See credits on album. Audio recording on Discogs.com]</ref> The recording was cited in ''Billboard Magazine'' for its high level of musicality.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref>

Several years later, Serry completed his ''[[Concerto For Free Bass Accordion]]'' in 1966 and subsequently transcribed it for piano in 2002.<ref name="Congress Copyright Office 1968">The library of Congress Copyright Office, ''Concerto for Bassetti Accordion'', Composer: John Serry Sr., June 4, 1968, Copyright # EP 247602</ref><ref>{{cite web|url=https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=Serry&Search%5FCode=NALL&CNT=25&PID=qtoCDJJcISkF-Y5Tnolj9EU37&SEQ=20180726172131&SID=7 |title=The Library of Congress Copyright Office – Public Catalog 1978 – Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> As the decade of the 1960s unfolded, however, the general public's interest in the accordion began to diminish in the United States while the popularity of [[rock music]] continued to grow.<ref name=Jacobson2007/><ref name="TQPXAQAAQBAJ 2013, p. 3">[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – Accordion & rock and roll on GoogleBooks.com]</ref><ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 4 Accordion and rock and roll music on Google Books]</ref> The ensuing revolution in popular music induced many young people to view the accordion as a "square relic" from their parents' generation which should be replaced by the electric guitar, electric piano and electronic organ.<ref>[https://books.google.com/books?id=wvb2DwAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music Around The World: A Global Encyclopedia'' . Andrew Martin & Matthew Mihalka editors. "Accordion (Americas) p. 4 "Accordion" – the accordion is seen as a square relic and replaced by the guitar during the 1960s on GoogleBooks.com]</ref><ref>[https://books.google.com/books?id=TQPXAQAAQBAJ&dq=Magnante+Accordion+Band&pg=PA3 ''Music in American Life: An An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture.'' Edmondson, Jacqueline. ABC-CLIO, 2013, p. 3. "Accordion" – In the late 1950s young people reject the accordion as old fashioned & take up the electric guitar, electric piano and electronic organ on GoogleBooks.com]</ref> As a result, many established accordion studios either diversified or closed down entirely.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Accordion+music+in+the+United+States+after+the+1960%27s&pg=PA67 "Squeeze This: A Cultural History of the Accordion in America". Jacobson, Marion. University of Illinois Press, 2012, p. 67 on google.com/books]</ref><ref name="TQPXAQAAQBAJ 2013, p. 3"/>
[[File:C.W. Post College, Brookville, Long Island. LOC gsc.5a29157.tif|thumb|upright=.95|left|[[C.W. Post College]], Brookville, Long Island. LOC gsc.5a29157]]

With this in mind, Serry devoted the remaining thirty-five years of his professional career to the performance of [[wedding music]] and liturgical music of the Catholic and Jewish faiths as a freelance organist at the Interfaith Chapel of [[Long Island University C W Post Campus]] in Brookville, N.Y. (1968-2002).<ref>''The New York Times'', 21 June 1964, p. 84</ref><ref>''The New York Times'', 9 June 1965, p. 47</ref><ref>''The New York Times'', 14 June 1987, p. LI22</ref><ref>''The New York Times''14 June 1987, P. New York Region</ref><ref name="Mitchell">{{cite news |url=https://www.nytimes.com/1987/06/14/nyregion/interfaith-chapels-in-demand.html? |title=Interfaith Chapels in Demand |first=Ellen |last=Mitchell |work=The New York Times |date=14 June 1987 |access-date=26 November 2018}}</ref> As more rabbis sought to unite couples of different faiths without first requiring conversions in the 1960s and 1970s,<ref>[https://books.google.com/books?id=ewdRDwAAQBAJ&dq=Interfaith+marriages+in+the+1960%27s&pg=PA22 "Beyond Chrismukkah: the Christian-Jewish Interfaith Family". Mehta, Samira K., university of North Carolina Press, 2018, p. 22 on google.com/books]</ref> he collaborated with several clergymen of both the Jewish and Catholic religious traditions including: Rabbi Nathaniel Schwartz<ref name="Mitchell"/> and the Rev. John Heinlein<ref>[https://www.nytimes.com/1984/03/18/style/no-headline-058256.html Rabbi Nathaniel Schwart officiates at the C. W. Post Interfaith Chapel]</ref><ref>[https://www.nytimes.com/1983/11/06/style/ther-ese-o-hara-and-g-a-krebs-wed.html Rabbi Nathaniel Schwartz and Rev. John Heinlein officiate at the C. W. Post Interfaith Chapel]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection: Series 3, p. 6 – Scrapbook containing musical programs as archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

During this period, he also transcribed his composition ''Processional March'' (1951) from piano for use on the organ in 1968.<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Processional March (1951, Revised for Organ 1968)" Folder 18 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref> In the years which followed, he composed several additional liturgical works for the choir of Notre Dame Parish on Long Island including: ''A Savior Is Born'' (1991, organ and solo voice), ''The Lord's Prayer'' (1992, organ and chorus) and ''Lamb of God'' (1994, for choir, flute and brass).<ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folders: 26, 27, 28, p. 12 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

Serry died after a brief illness on [[Long Island]], New York in 2003, age 88.<ref>''Allegro'', American Federation of Musicians, New York, January 2004, Vol CIV, [http://www.local802afm.org/publication_entry.cfm?XEntry=23736371 No. 1.] {{webarchive|url=https://web.archive.org/web/20060528201555/http://www.local802afm.org/publication_entry.cfm?xEntry=23736371 |date=2006-05-28 }}</ref> 

==Performance style==
Several of John Serry's early live performances and recordings were reviewed by critics in such noted magazines as ''[[The Billboard (magazine)|The Billboard]]'', ''[[Cash Box (magazine)|Cash Box]]'' and ''The Players Magazine – National Journal of Educational Dramatics''.<ref name="ReferenceB"/><ref name="worldradiohistory.com"/><ref name="ReferenceD"/> His recording with the Biviano Accordion and Rhythm Sextette for Sonora Records in 1945 (''Accordion Capers'') was reviewed by ''Billboard'' magazine, which noted that the music on the album was strictly for listening as opposed to dancing.<ref name="Inc.1946"/> While accompanying a dramatic vocalist he was cited for contributing to an intriguing and nuanced performance.<ref>{{cite web |url=https://books.google.com/books?id=vsJYAAAAMAAJ |title=Players |date=26 November 2018 |publisher=National Collegiate Players |access-date=26 November 2018 |via=Google Books}}</ref> His recording of Latin American music with the Alfredo Antonini Viva America Orchestra was described as "as amongst the most attractive" by critics at ''The New Records'' in 1946.<ref name="auto7">The New Records. ''Latin American Music – Alfredo Antonini and Viva America orchestra'' H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, P. 6-7 [https://archive.org/stream/TNR14/The%20New%20Records%20Vol%2014#page/n77/mode/2up/search/Alfredo+Antonini ''Latin American Music – Alfredo Antonini and Viva America Orchestra'' critical review of the album in ''The New Records'' P. 6-7 on archive.org]</ref> In addition, his recording of classical compositions by Rimsky-Korsakov, Nicolo Paganini. Carl Maria von Weber and Pyotr Ilyich Tchaikovsky as a member of Pietro Deiro's Accordion Orchestra was cited by critics in ''The Billboard'' for its high level musicality.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref> His musical arrangements were also cited for using the accordion to convey a variety of musical moods with easy-going grace intended for low-pressure listening.<ref name="worldradiohistory.com"/> Above all else, he was applauded on his album ''Squeeze Play'' for utilizing the accordion to establish a beautiful, relaxed and soothing mood while avoiding a more common type of "show-off" performance.<ref name="ReferenceB"/><ref name="worldradiohistory.com"/>

==Works==
=== Compositions and arrangements ===
{{ external media|width= 200px |audio1= You may hear John Serry Sr. performing his "Leone Jump" with the Joe Biviano Accordion Rhythm Sextette and [[Tony Mottola]] in 1945 [https://archive.org/details/78_leone-jump_joe-biviano-his-accordion-and-rhythm-sextette-john-serry_gbia0071954c '''Here on Archive.org''']}}

{{colbegin}}
His compositions include:
* ''Desert Rumba'' (for accordion, 1939; publisher Antobal Music, 1951)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Desert Rumba" score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Glissando'' (for accordion, publisher Biviano Music, 1942)<ref>The Library of Congress Copyright Office, ''Glissando'', Composer John Serry, 1946, Copyright #EP8078 [https://archive.org/stream/catalogofcopyrig413libr#page/178/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 179]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Glissando" score p. 9 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Tarantella'' (for accordion, 1942; publisher Alpha Music, 1955)<ref>{{cite web|access-date=20 July 2023|title=Tarantella by John Serry archived at Oxford University, London|url=https://www.worldcat.org/title/945114625|date=1946|website=worldcat.org}}</ref>
* ''Valse'' (Composer Pytor Ilych Tchaikovsky (Opus 39 No. 8), arr. for accordion, publisher Viccas Music, 1946)<ref>{{cite web|url=http://www.theeuropeanlibrary.org/tel4/record/2000033945149?query=John+Serry|title=Valse ... Arranged by John Serry. Accordion Solo|first=Peter Ilich|last=Tchaikovsky|date=1946|website=The europeanlibrary.org|access-date=26 November 2018}}</ref><ref>{{cite web|url=https://www.worldcat.org/title/1061651613|title=Valse...arranged by John Serry. Accordion Solo|first=Peter Ilich|last=Tchaikovsky|date=1946|website=worldcat.org|access-date=20 July 2023}}</ref>
* ''Fantasy in F'' (for accordion, publisher Viccas Music, 1946)<ref>[http://www.ksanti.net/free-reed/reviews/ktrio.html "CD Review: The K Trio Images"]. ''The Free-Reed Review'', Henry Doktorski</ref><ref name="Congress Copyright Office 1946, Pg. 153"/><ref>{{cite web|access-date=20 July 2023|date=1946|title=Fantasy in F by John Serry archived at Oxford University, London|url=https://www.worldcat.org/title/945114698|website=worldcat.org}}</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Fantasy in F" score p. 9, orchestral arrangement score p. 13 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Invitation to Jive'' (for three accordions, guitar and bass, 1946)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Invitation to Jive" score p. 8 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Consolation Waltz'' (for accordion, publisher O. Pagani & Bro., 1948)<ref>The Library of Congress Copyright Office, ''Consolation Waltz'',Composer John Serry, O.Pagani & Bro., New York, 29 November 1949, Copyright # EP58852 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref>
* ''Uncle Charlie's Polka'' (for accordion, publisher O. Pagani Bro., 1948)<ref>The Library of Congress Copyright Office, ''Uncle Charlie's Polka'',Composer John Serry, O. Pagani & Bro., New York, 29 November 1949, Copyright # EP58854 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref>
* ''The Bugle Polka'' (for accordion, publisher O. Pagani Bro., 1948)<ref>The Library of Congress Copyright Office, ''Bugle Polka'',Composer John Serry, O.Pagani Bro., New York, 29 November 1949 Copyright #EP5883 [https://books.google.com/books?id=oFghAQAAIAAJ&pg=PA605 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com]</ref><ref>[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=11 ''The Bugle Polka'' by John Serry (1949) on Worldcat.org]</ref>
* ''Leone Jump'' (for accordion, publisher Pietro Deiro, 1956)<ref name="web.archive.org"/><ref>{{cite web |url=http://78discography.com/Sonora.htm|title=Sonora Records 78rpm numerical listing discography |website=78discography.com |access-date=26 November 2018}}</ref><ref>The Library of Congress Copyright Office, ''Leone Jump'', Composer John Serry, 1946, Copyright # EP8079 [https://archive.org/stream/catalogofcopyrig413libr#page/354/mode/2up/search/Serry Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 355]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Leona Jump" orchestral score for 3 accordions, bass, rhythmic guitar & electric guitar p. 8 John J. Serry Collection archived at the University of Rochester]</ref>
* ''La Culebra'' (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)<ref>The Library of Congress Copyright Office,''La Culebra'', Composer John Serry Sr., March 7, 1951, Copyright # EU 233726</ref><ref>{{cite web |url=https://www.worldcat.org/identities/viaf-218300692/|title=John Serry Sr. 1915 – 2003 La Culebra |website=Worldcat.org |access-date=26 November 2018}}</ref><ref>[http://library.juilliard.edu/search~S1?/m20.1+Se685af+BakerBxC07f16/m20.1+se685af+bakerbxc07f16/-3%2C-1%2C0%2CB/frameset&FF=m20.1+se685cu+bakerbxc07f17&1%2C1%2C ''La Culebra'' – Flute solo, composer John Serry & dedicated on the score as "written for and dedicated to my friend Julius Baker, 1951" in the Julius Baker Music Collection Archive on Julicat at library.juilliard.edu]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection ""La Culebra" acore p. 8 & p. 9 score John J. Serry Collection archived at the University of Rochester]</ref>
* ''African Bolero'' (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)<ref>The Library of Congress Copyright Office, African Bolero Composer: John Serry Sr., March 7, 1951, Copyright # EU 233725</ref><ref>{{cite web |url=https://www.worldcat.org/identities/viaf-218300692/|title=John Serry Sr. 1915 – 2003 – African Bolero |website=Worldcat.org |access-date=26 November 2018}}</ref><ref>[https://www.juilliard.edu/school/library-and-archives/special-collections#peter-jay-sharp-special-collections Peter Jay Sharp Special Collections – Julius Baker Collection]</ref><ref>[http://library.juilliard.edu/search~S1?/dJulius+Baker+Music+Collection+%28Juilliard+School.+Lila+Acheson+Wallace+Library%29/djulius+baker+music+collection+juilliard+school+lila+acheson+wallace+library/-3%2C-1%2C0%2CB/frameset&FF=djulius+baker+music+collection+juilliard+school+lila+acheson+wallace+library&11%2C%2C1637 ''African Bolero''] – Flute solo, composer John Serry & dedicated on the score as "written for and dedicated to my friend [[Julius Baker]], 1951", in the Julius Baker Music Collection Archive on Julicat at library.juilliard.edu</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "African Bolero" score p. 9 John J. Serry Collection archived at the University of Rochester]</ref>
* ''The Syncopated Accordionist'' (for accordion, publisher/editor Charles Colin, 1952)<ref name="loc.gov">{{cite book|url=http://lccn.loc.gov/unk84158102|title=LC Catalog – Item Information (Full Record)|via=lccn.loc.gov|access-date=26 November 2018}}</ref><ref>The Library of Congress Copyright Office, ''The Syncopated Accordionist'', Composer John Serry a.k.a. John Serrapica, Charles Colin, New York 2 March 1953, Copyright #EP69650 [https://archive.org/stream/catalogofcopyrig375li#page/256/mode/2up/search/Serry Catalog of Copyright Entries 1953 Published Music Jan-Dec, Vol 7, Pt 5A, Pg. 257]</ref><ref>[https://www.worldcat.org/search?q=John+Serry&author=Serry%2C+John&limit=10&offset=11 ''The Syncopated Accordionist: Studies in Syncopation'' (1953) by John Serry on Worldcat.org]</ref>
* ''The First Ten Lessons for Accordion'' (for accordion, publisher Alpha Music, 1952)
* ''Accordion Method Books I, II, III, IV'' (for accordion, publisher Alpha Music, 1953)<ref name="worldcat.org"/><ref>[https://reverb.com/item/65777650-used-piano-accordion-music-book-john-serry-s-accordion-method-book-1-2 "Accordion Method Book 1 & 2" by John Serry on reverb.com]</ref>
* ''Rhythm-Airs for Accordion'' (editor John Serry, publisher Charles Colin & Bugs Bower, 1953)<ref>The Library of Congress Copyright Office, ''Rhythm-airs for the Accordionist'' Charles Colin & Bigs Bower, editor John Serry, Charles Colin, New York Vol. 1-2, 2 March 1953, Copyright #EP69648-69649 [https://archive.org/stream/catalogofcopyrig375li#page/58/mode/2up/search/Serry Catalog of Copyright Entries 1953 Published Music Jan-Dec Vol 7, Pt 5a, Pg. 58]</ref>
* ''La Cinquantaine'' (m. Gabriel Marie, arr. accordion quartet, publisher Alpha Music, 1954)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Accordion Quartet Arrangements" score p. 13 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Allegro'' (m. Joseph Hayden, arr. accordion quartet, publisher Alpha Music, 1954)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Accordion Quartet Arrangements" score p. 13 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Top Ten Accordion Solos – Easy to Play'' (editor: John Serrapica, publisher Alpha Music, 1954)<ref name="lccn.loc.gov"/><ref>The Library of Congress Copyright Office, ''Top Ten Accordion Solos – Easy To Play'', Publisher Broadcaste Music Inc. (BMI), Arranger John Serry, 12 July 1954, Copyright # A146305 [https://books.google.com/books?id=1RghAQAAIAAJ&pg=PA1405 Catalog of Copyright Entries Vol 8 Pt.1 Books and Pamphlets July-December 1954, p. 1405]</ref>
{{colend}}
{{colbegin}}
* ''Junior Accordion Band Series'' (arr. accordion quartet, publisher Alpha Music, 1955)<ref>[https://www.ebay.com/itm/254556663995 ''Junior Accordion Band Series'' by John Serry on ebay.com]</ref>
* ''Tango Verde'' (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Holiday in Rio'' (m. Terig Tucci, arr. accordion quartet, publisher Alpha Music, 1955)
* ''En Tu Reja'' (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Tango of Love'' (for accordion quartet, publisher Alpha Music, 1955)<ref name="auto4">{{cite web|url=http://repertoire.bmi.com/Catalog.aspx?detail=writerid&page=1&fromrow=1&torow=25&keyid=310127&subid=0 |title=BMI – Repertoire Search|website=Repertoire.bmi.com|access-date=26 November 2018}}</ref><ref name="repertoire.bmi.com">[https://repertoire.bmi.com/Search/Catalog?Num=ghzHg9frLPth31%252fUPAVsUA%253d%253d&Cae=NyKQPAHJlG6xdIfufIKvLw%253d%253d&Search=%7B%22Main_Search_Text%22%3A%22Garden%20In%20Monaco%22%2C%22Sub_Search_Text%22%3Anull%2C%22Main_Search%22%3A%22Title%22%2C%22Sub_Search%22%3Anull%2C%22Search_Type%22%3A%22all%22%2C%22View_Count%22%3A20%2C%22Page_Number%22%3A0%2C%22Part_Type%22%3Anull%2C%22Part_Id%22%3Anull%2C%22Part_Id_Sub%22%3Anull%2C%22Part_Name%22%3Anull%2C%22Part_Cae%22%3Anull%2C%22Original_Search%22%3Anull%2C%22DisclaimerViewed%22%3Anull%7D&PartType=WriterList&ResetPageNumber=True&PartIdSub=YO0HedHMatLb45JzS23DVw%253d%253d BMI-Songview Catalogue – songs by John Serry on repertoire.bmi.com]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Tango of Love" score p. 13 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Manolas'' (m. Escobar, arr. accordion quartet, publisher Alpha Music, 1955)
* ''Petite Tango'' (for accordion quartet, publisher Alpha Music, 1955)<ref name="auto4"/><ref name="repertoire.bmi.com"/>
* ''The Lost Tango'' for accordion, Words by Edward Steinfeld, 1956)<ref>The Library of Congress Copyright Office, ''The Lost Tango'', m. John Serry, Words Edward Steinfeld, New York, New York, 14 June 1956 Copyright #EU440575 [https://archive.org/stream/catalogofcopyrig3105lib#page/134/mode/1up/search/Serry Library of Congress Catalog of Copyright Entries 1956 Unpublished Music Jan-Dec. Vol. 10, Part 5a, Pg. 134 on archive.org]</ref>
* ''Garden in Monaco'' (for accordion, publisher Alpha Music, 1956)<ref name="auto4"/><ref name="repertoire.bmi.com"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Garden in Monaco" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Rockin' the Anvil'' (for accordion, publisher Alpha Music, 1956)<ref name="auto4"/><ref name="repertoire.bmi.com"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Rockin' the Anvil" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Selected Accordion Solos'' (arr. accordion, publisher Alpha Music, 1956)
* ''Cocktails in Spain'' (for marimba, percussion, guitar, bass and organ, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Cocktails in Spain" score p. 14 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Spooky Polka'' (for accordion, publisher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Spooky Polka" score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''Reeds in a Rush'' (for accordion, publisher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Reeds in a Rush" draft score p. 10 John J. Serry Collection archived at the University of Rochester]</ref>
* ''American Rhapsody'' (for accordion, publisher Rumbasher Alpha Music, 1957)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "American Rhapsody" score p. 10 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''[[I Get a Kick Out of You]]'' (m. [[Cole Porter]], arr. violins, three accordions, vibes, guitar, bass, drums, piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 4 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Mimi (song)|Mimi]]'' (m. [[Richard Rodgers]], arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 5 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[The One I Love (Belongs to Somebody Else)|The One I Love]]'' (m. Isham Jones, arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 6 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Swingin' Down the Lane]]'' (m. [[Isham Jones]], arr. violins, three accordions, vibes, guitar, bass, drums, and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder 7 p. 14 archived at the University of Rochester Eastman School of Music]</ref>
* ''[[Tico-Tico no Fuba|Tico-Tico]]'' (m. [[Zequinha de Abreu]], arr. three accordions, guitar, bass and piano, 195?)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection Series 2: Oversized Manuscripts: Folder p. 14-15 archived at the University of Rochester Eastman School of Music]</ref>
* ''Processional for Organ'' (liturgical [[bridal march]] for organ, 1968)<ref name="River Campus 1980">[https://www.rochester.edu/pr/Review/V70N6/cn-u-80.html "Rochester Review" July-August 2008, Vol 70, No. 6 University of Rochester Alumnus magazine: River Campus (See Class of 1980) – Son of John Serry notes that his father's compositions and recordings have been submitted into the Sibley Library for archive]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Processional March" score p. 10 John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Falling Leaves'' (for piano, 1976)<ref>The Library of Congress Copyright Office,''Falling Leaves'', Composer: John Serry Sr., May 21, 1976, Copyright # EU 233726</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Falling Leaves" score p. 11 John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Elegy'' (for piano or organ, 1984 Rev. 1994)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Elegy" score p. 10 The John J. Serry Collection archived at the University of Rochester]</ref>
* ''Three Songs of Love'' (for voice and piano, poems by David Napolin, 1986)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Three Songs of Love" pp. 11-12 The John J. Serry Sr Collection archived at the University of Rochester]</ref>
* ''A Savior Is Born'' ([[Christmas]] liturgical for organ & voice, 1991)<ref>The Library of Congress Copyright Office, ''A Savior Is Born'', Composer: John Serry Sr., November 18, 1991, Copyright # PAU 1-575-137 [http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=9&ti=1,9&Search_Arg=Serry%20John&Search_Code=NALL&CNT=25&PID=6Ry2vjsI_BnOjbvb8nWIIpwJ9pUD7h&SEQ=20171030121559&SID=3 ''A Savior is Born'' on THe United States Copyright Office Online Catalog cocatalog.loc.gov]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "A Savior Is Born" score p. 12 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Dreams Trilogy'' (for solo piano, 1991)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Dreams Trilogy" score p. 11 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''The Lord's Prayer'' (liturgical [[Lord's Prayer]] for organ and chorus, 1992)<ref>The Library of Congress Copyright Office,'' The Lord's Prayer'', Composer: John Serry Sr., September 2, 1992, Copyright # PAU 1-665-838 [http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=8&ti=1,8&Search_Arg=Serry%20John&Search_Code=NALL&CNT=25&PID=6Ry2vjsI_BnOjbvb8nWIIpwJ9pUD7h&SEQ=20171030121559&SID=3 ''The Lord's Prayer '' on The United States Copyright Office Online Catalog cocatalog.loc.gov]</ref><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "The Lord's Prayer" score p. 12 The john Jerry Sr Collection archived at the University of Rochester]</ref>
* ''Lamb of God'' (liturgical hymn for choir, flute and bass, 1994)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Lamb of God" score p. 12 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
* ''Five Children's Pieces For Piano'' (for piano, 1996)<ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "Five Children's Pieces For Piano" score p. 11 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
{{colend}}

=== Advanced compositions ===
Serry's compositions in the [[symphonic jazz]] and [[classical music]] genres include:<ref name="esm.rochester.edu">{{cite web |url=http://www.esm.rochester.edu/sibley/specialcollections |title=Ruth T. Watanabe Special Collections Home |website=Sibley Music Library |date=13 November 2019 |access-date=12 December 2022 }} Performers can locate the scores to "American Rhapsody" and "Concerto For Free Bass Accordion" which were donated to the [[Eastman School of Music]]'s [[Sibley Music Library]]'s – Ruth T. Watanabe Special Collections Department by contacting the archivist here.</ref><ref name="River Campus 1980"/><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection archived at the University of Rochester]</ref>

* ''[[American Rhapsody]]'' (for accordion, 1955: published by Alpha Music 1957; transcribed for piano, 2002)<ref name="ReferenceE"/><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "American Rhapsody" score Folder 12 & 19 p. 10 The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music ]</ref>

* ''[[Concerto For Free Bass Accordion]]'' (for accordion, 1966; transcribed for piano, 1995–2002, unpublished, a.k.a. ''Concerto in C Major for Bassetti Accordion'')<ref name="Congress Copyright Office 1968"/><ref>{{cite web|url=https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=Serry&Search%5FCode=NALL&CNT=25&PID=qtoCDJJcISkF-Y5Tnolj9EU37&SEQ=20180726172131&SID=7 |title=The Library of Congress Copyright Office – Public Catalog 1978 – Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref>

== Discography ==
{{external media |width=200px |audio1= You may hear selections from the album "[[Squeeze Play (album)|Squeeze Play]]" (Dot Records,1956) [https://listenbrainz.org/artist/9ff7e10c-d72b-4948-9a2e-635b0ad19be0/ '''Here on Listenbrainz.org''']}}
* ''[[Squeeze Play (album)|Squeeze Play]]'' – Dot Records (catalogue #DLP-3024) (1956)<ref name="article11" /><ref name="BillboardSqueezePlay" /><ref>{{cite book |title=Squeeze play |date=26 November 2018 |oclc = 12935411}}</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection "Squeeze Play" audio recording of compositions and arrangements by John Serry in "The John J. Serry Sr. Collection" p. 19 at the Eastman School of Music on esm.rochester.edu]</ref>

* ''[[RCA Thesaurus]]''  – RCA Victor Transcriptions series of over thirty works. John Serry Sr. as a contributing arranger and soloist with The Bel-Cordions accordion Sextette ensemble and Ben Selvin – Music Director (1954).<ref name="article11" /><ref name="ReferenceF">[https://www.esm.rochester.edu/sibley/specialcollections/ Eastman School of Music: Sibley Music Library: Ruth T. Watanabe Special Collections Dept. at www.esm.rochester.edu]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection "John Serry Sextette" audio recording for RCA Thesaurus of arrangements and performances by John Serry at the RCA Victor Sudios in 1954 p. 18 The John J. Serry Sr. Collection archived at the University of Rochester]</ref>
<ref>[https://www.google.com/search?tbm=bks&q=RCA+Thesaurus+John+Serry Radio Daily-Television Daily. Publisher: Radio Daily Corporation 29 October 1954, p. 8 – "RCA Thesaurus cut a session of Latin-American music, polkas, and novelties with the John Serry Accordion Quartet", RCA Thesaurus John Serry on Google Books]</ref> List of musical arrangements: ''Allegro'' – [[Joseph Haydn]], ''[[The Golden Wedding]]( La Cinquantaine)'' – [[Jean Gabriel-Marie]], ''Tango of Love'' – John Serry Sr., ''[[Shine On, Harvest Moon]]'' – [[Jack Noworth]] & [[Nora Bayes]], ''[[My Melancholy Baby]]'' – Ernie Burnett & George A. Norton, ''[[Singin' in the Rain (song)|Singin' in the Rain]]'' – [[Arthur Freed]] & [[Nacio Herb Brown]], ''[[Nobody's Sweetheart]]'' – [[Elmer Schoebel]]/[[Gus Kahn]], ''[[Chicago (That Toddlin' Town)|Chicago]]'' – [[Fred Fisher]], ''[[If You Knew Susie]]'' – [[Buddy DeSylva]] & [[Joseph Meyer (songwriter)|Joseph Meyer]], ''[[Somebody Stole My Gal]]'' – [[Leo Wood]], ''[[Ta-ra-ra Boom-de-ay]]'' – [[Paul Stanley (composer)]], ''[[Old McDonald]]'' – children's music, ''[[Beer Barrel Polka]]'' – [[Jaromir Vejvoda]]/[[Eduard Ingris]], ''I Love Louisa'' – [[Arthur Schwartz]]/[[Howard Dietz]], ''[[Oh You Beautiful Doll]]'' – Seymour Brown/ [[Nat D. Ayer]], ''[[Chinatown, My Chinatown]]'' -[[William Jerome]]/[[Jean Schwartz]] 
* ''Ballroom in Dreamland'' – Dot Records (catalogue # 5006) – a compilation album released in Japan featuring performances of Jazz, Latin and Classical music by the John Serry Orchestra and the [[Billy Vaughn]] Orchestra.<ref name="discogs.com"/>
* ''Pietro Deiro Presents the Accordion Orchestra'' – Coral Records (catalogue #CRL-57323) – as a member of an orchestra of sixteen accordionists interpreting the sounds of a traditional orchestra in performances of transcriptions from classical music under the direction of Joe Biviano.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 The Billboard- Reviews and Ratings of New albums "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 "Pietro Deiro Presents the Accordion Orchestra" Critical Review of the album on Google Books]</ref><ref>[https://search.worldcat.org/title/36735352?oclcNum=36735352 "Pietro Deiro Presents the Piano Accordion"- See the performers' credits and song listings on the record album on Worldcat.org]</ref><ref>[https://www.discogs.com/release/12006299-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra Pietro Deiro, Joe Biviano The Accordion Orchestra (Coral, CRL-57323). See the notes on the album cover. Photograph of the album on Discogs.com]</ref><ref>[https://www.bsnpubs.com/decca/coral/coral.html The Coral Album Discography. Edwards, David. Callahan, Mike. Eyrles, Patrice. Watts, Randy. Neely, Timothy. April 27, 2014. CRL-57323 "Pietro Deiro Presents the Accordion Orchestra" (1960) "The Coral Album Discography" on bsnpubs.com]</ref><ref>[https://books.google.com/books?id=oiNtRleCw6wC&q=John+Serry Music Trades: "Accordion Orchestra Featured on New Coral 12" Record" Vol. 109, 1961 p. 84 John Serry listed as a member of the accordion orchestra on the new Coral record. John Serry on Google Books]</ref>*:List of musical selections: ''Danse des Bouffons'' – [[Nikolai Rimsky-Korsakov]], ''Beguine di Roma'' – Joe Biviano, ''Invitation to the Dance'' – [[Carl Maria von Weber]], ''La Cumparsita'' – musical arrangement by Joseph Biviano, ''La Chasse'' – [[Niccolo Paganini]], ''Danse Chinoise'' – [[Pyotr Ilyich Tchaikovsky]], ''Three Blind Mice'' – musical arrangement by Joseph Biviano, ''Danse de Marlitens'' – [[Pyotr Ilyich Tchaikovsky]], ''Walse de Fleur'' – Pyotr Ilyich Tchaikovsky, ''The Flight of the Bumble Bee'' – Nikolai Rimsky-Korsakov, ''The Rooster'' – Joe Biviano, ''Careless one cha-cha-cha'' – Joe Biviano
* ''Accordion Capers'' – Sonora Records (catalogue # MS 476) – as a member of the Biviano Accordion & Rhythm Sextette. (1947)<ref name="Inc.1946" /><ref>{{cite book|title=Accordion capers |date=26 November 2018 |oclc = 48679834}}</ref><ref name="web.archive.org"/>List of musical selections: ''[[Little Brown Jug (song)|Little Brown Jug]]''- [[Joseph Winner|Joseph Eastburn Winner]], ''[[The Golden Wedding]] (La Cinquantaine)'' – [[Jean Gabriel-Marie]], ''Leone Jump'' – John Serry, ''[[Swing Low, Sweet Chariot]]''- [[Wallace Willis]], ''[[That's a Plenty]]'' – [[Lew Pollack]], ''Scotch Medley'' – folk music, ''The Jazz Me Blues'' – [[Tom Delaney (songwriter)|Tom Delaney]]
* ''Latin American Music'' – Alpha Records (catalogue # 12205A, 12205B, 12206A, 12206B) – as a member of the Viva America Orchestra – Conductor Alfredo Antonini (1946)<ref>Billboard. ''Alpha's 12" Latin-Vinylites'', New York, Vol. 58 No. 13 30 March 1946, P. 22 [https://books.google.com/books?id=JBoEAAAAMBAJ&pg=PT21 Alpha Records release of Alfredo Antonini and Viva America Orchestra in Billboard on books.google.com]</ref>List of recordings: ''Caminito de tu Casa'' – [[Julio Alberto Hernández]], ''Chapinita'' – [[Miguel Sandoval (composer)|Miguel Sandoval]], ''Adios Mariquita Linda'' – Marcos A. Jimenez, ''Mi Nuevo Amor'', ''[[La Zandunga]]'' – Andres Gutierrez/Maximo Ramo Ortiz, ''La Mulata Tomasa'' – Lazaro Quintero, ''Tres Palabras'' – [[Osvaldo Farres]], ''[[Noche de ronda]]'' – [[Augustin Lara]]
* ''[[Granada (song)|Granada]]'' – Decca Records (catalogue # 23770A) – as a member of the Alfredo Antonini Orchestra with the lyric tenor [[Nestor Mesta Chayres]] (1946)<ref name="archive.org">{{cite web |url=https://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a|title=Granada|last1=Nestor Chayres |last2=Agustin Lara|last3=Alfredo Antonini|date=30 April 1946|access-date=26 November 2018|website=Archive.org}}</ref>
* ''Chiquita Banana'' – Alpha (catalogue # 1001A) – as a member of the Alfredo Antonini Orchestra, conductor Alfredo Antonini, vocalist [[Elsa Miranda]] (1946) <ref>[https://archive.org/details/78_chiquita-banana_elsa-miranda-alfredo-antonini-and-his-viva-america-orchestra-mckenz_gbia0185276a/CHIQUITA+BANANA+-+Elsa+Miranda+-+Alfredo+Antonini+and+his+Viva+America+Orchestra.flac "Chiquita Banana" performed by the Alfredo Antonini Viva America Orchestra & vocalist Elsa Miranda on archive.org]</ref>
* ''By the Cradle'' – Victor Records (catalogue # 26-5035) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: By the Cradle, John Serry accordionist on uscb.edu]</ref>
* ''Katusha'' – Victor Records (catalogue # 26-5035) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Katusha, John Serry accordionist on uscb.edu]</ref>
* ''Hobo Song'' – Victor Records (catalogue # 26-5036 ) – accordionist in the Mischa Borr Orchestra, vocalist Sidor Belarsky (1946) <ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Hobo Song, John Serry accordionist on uscb.edu]</ref>
* ''[[Dark Is the Night (Soviet song)|Dark Night]]'' – Victor Records (catalogue # 26-5037) – accordionist in the Mischa Borr Orchestra, vocalist [[Sidor Belarsky]] (1946)<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John?Matrix_page=2 Discography of American Historical Recordings: Dark Night, John Serry accordionist on uscb.edu]</ref>
* ''Leone Jump'' – Sonora Records (catalogue # 3001 B) – as a member of the Biviano Accordion & Rhythm Sextette. (1945)<ref name="hubcap.clemson.edu" /><ref name="web.archive.org"/><ref name="ReferenceA"/>
* ''Clarinet Polka'' – Bluebird (catalogue # B-11294-A) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200051914/BS-067554-Clarinet_polka John Serrapica as instrumentalist in the Charles Magnante Accordion Band in 1941 at the University of California Santa Barbara Library's Discography of American Historical Recordings at adp.library.ucsb.edu]</ref>
* ''Swing Me a Polka'' – Victor (matrix # BS-067555) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref name="adp.library.ucsb.edu">[https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John John Serrapica as a member of the Charles Magnante Accordion Band on the University of California Santa Barbara Library's Discography of American Historical Recordings at adp.library.ucsb.edu]</ref>
*''Le Secret'' – Victor (matrix # BS-067556) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941).<ref name="adp.library.ucsb.edu"/>
* ''Halli-Hallo-Halli'' – Victor (matrix # BS-067556) – John Serry (aka John Serrapica) as a member of the Charles Magnante Accordion Band (1941.<ref name="adp.library.ucsb.edu"/>
* ''Tres Palabras'' and ''Esta Noche Ha Pasado'' – Columbia Records (catalogue # 6201-X) – as a member of the CBS Pan American Orchestra – Conductor Alfredo Antionini, Vocalist Luis G. Roldan (194?)<ref name="ReferenceC">{{cite web |url=https://archive.org/details/78_tres-palabras_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-cbs-os_gbia0033510a |title=Tres Palabras |last1=Luis G. Roldan |last2=Alfredo Antonini y su Orquesta Pan-Americana C.B.S.|last3=Osvaldo Farres|access-date=26 November 2018|website=Archive.org}}</ref><ref name="archive1">{{cite web|url=https://archive.org/details/78_esta-noche-ha-pasado_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-c_gbia0033510b|title=Esta Noche Ha Pasado |last1=Luis G. Roldan |last2=Alfredo Antonini y su Orquesta Pan-Americana C.B.S.|last3=M. Sabre Marroquin|access-date=26 November 2018|website=Archive.org}}</ref>List of songs: ''Tres Palabras'' – [[Osvaldo Farres]], ''Esta Noche Ha Pasado'' – M. Sabre Marroquin
* '' Asi'' and ''Somos Diferentes'' – Columbia Records (catalogue # 6202-X) – as a member of the CBS Pan American Orchestra – Conductor Alfredo Antonini, Vocalist Luis G. Roldan (194?)<ref name="frontera.library.ucla.edu">{{cite web|url=http://frontera.library.ucla.edu/recordings/asi-2|title=Asi – Frontera Project|website=Frontera.library.ucla.edu|access-date=26 November 2018}}</ref><ref name="autogenerated1">{{cite web|url=http://frontera.library.ucla.edu/recordings/somos-diferentes-1|title=Somos Diferentes – Frontera Project |website=Frontera.library.ucla.edu |access-date=26 November 2018 }}</ref>List of songs: ''Asi'' – María Grever, ''Somos Diferentes'' – Pablo Beltran Ruiz
{{external media |width= 200px |audio1= You may hear John Serry Sr. with [[Los Panchos]] Trio and the [[Alfredo Antonini]] [[Viva America]] Orchestra performing a chilian cueca dance "La Palma" circa 1946 [https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 '''Here on Archive.org''']}}
* ''La Palma'' and ''Rosa Negra'' – Pilotone Records (catalogue # 5067 & # 5069) – as a member of Alfredo Antonini's Viva America Orchestra, Vocalists Los Panchos Trio (194?)<ref name="auto2">{{cite web |url=https://archive.org/details/78_rosa-negra_alfredo-antonini-and-his-viva-america-orchestra-los-panchos-trio_gbia0030808 |title=La Palma; Rosa Negra |last1=Los Panchos Trio|last2=Alfredo Antonini and His Viva America Orchestra|access-date=26 November 2018 |website=Archive.org}}</ref>List of songs: ''La Palma'' (Chilian cueca dance), ''Rosa Negra'' (Conga)
* ''El Bigote de Tomas'' and ''De Donde'' – Columbia Records (Catalogue # 36666) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4">{{cite web|url=https://archive.org/details/78_noche-de-amor_juan-arvizu-and-the-c-b-s-tipica-orchestra-lavidada-delmoral-alfre_gbia0021640 |title=Viva Sevilla!; Noche de Amor; Mi Sarape; Que Paso?; El Bigote de Tomas; De Donde? |last1=Juan Arvizu and the C. B. S. Tipica Orchestra |last2=Lavidada |last3=DelMoral |last4=Alfredo Antonini |last5=Juan Arvizu |last6=Grever |last7=Juan Arvicu and the C. B. S. Tipica Orchestra |last8=Cortazar |last9=Juan Arvizu and the C. B. S Tipica Orchestra |last10=Valie|date=28 January 1942|access-date=26 November 2018 |website=Archive.org }}</ref> List of musical selections: ''El Bigote de Tomas'' – Valie, ''De Donde'' – María Grever
* ''Mi Sarape'' and ''Que Paso?'' – Columbia Records (catalogue # 36665) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4"/>List of musical selections: ''Mi Sarape'' – María Grever, ''Que Paso?'' – Cortazar
* ''Viva Sevilla!'' and ''Noche de Amor'' – Columbia records (catalogue # 36664) – as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)<ref name="archive4"/> Musical selections: ''Viva Sevilla!'' – Lavidad/Delmoral, ''Noche de Amor'' – Tchaikovsky arr.Arvizu/Antonini
* ''Shep Fields and His Rippling Rhythm Orchestra'' – Bluebird Records – as the accordionist (1938)<ref name="Rust1975"/><ref name="ReferenceG">[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John John Serry's audio recordings with the Shep Fields Rippling Rhythm Orchestra on Discography of American Historical Recordings]</ref><ref>[https://adp.library.ucsb.edu/index.php/matrix/detail/200033326/PBS-026255-An_old_curiosity_shop Audio recording with the Shep Fields Orchestra – "An Old Curiosity Shop" (1938) on the Discography of American Historical Records adp.library.ucsb.edu]</ref>List of recordings 1938: ''A Stranger in Paree'' (#B-7566), ''I Wanna Go Back to Bali'' (B#7566) – [[Harry Warren]]/[[Al Dubin]], ''Cathedral in the Pines'' (#B-7553) – [[Charles Kenny]]/Nick Kenney, ''Somewhere with Somebody Else'' (#B-7555), ''That Feeling Is Gone'' (#B-7555), ''Good Evenin', Good Lookin'' (#B-7553), ''My Walking Stick'' (#B-7592), ''Havin' Myself a Time'' (#B-7581) – [[Ralph Rainger]]/Leo Robin, ''Fare Thee Well, Annie Laurie'' (#B-7581), ''This Time It's Real'' (#B-7579), ''If It Rains – Who Cares?'' (#B-7579), ''[[Now It Can Be Told]]'' (#B-7592) – [[Irving Berlin]], ''I've Got a Pocketful of Dreams'' (#B-7581), ''In Any Language'' (#B-7604), ''Where in the World'' (#B-7604), ''[[Any Little Girl, That's a Nice Little Girl, Is the Right Little Girl for Me]]'' (#B-7606) – Thomas J. Gray/[[Fred Fisher]], ''[[The Fountain in the Park|In the Merry Month of May]]'' (#B-7606) – Ed Haley, ''Don't Let That Moon Get Away'' (#B-7697) – [[Johnny Burke (lyricist)]]/[[James V. Monaco]], ''An Old Curiosity Shop'' (#B-10056) – [[Sam Coslow]], [[Guy Wood]], [[Abner Silver]]
{{external media|width=200px|audio1= You may hear John Serry and the Shep Fields Orchestra performing the fox trot "There's a New Moon Over the Old Mill" in 1937 [https://adp.library.ucsb.edu/index.php/matrix/detail/200030370/BS-017491-Theres_a_new_moon_over_the_old_mill '''Here on ucsb.edu''']}}
*''Shep Fields and His Rippling Rhythm Orchestra'' – Bluebird Records – as the accordionist (1937)<ref name="Rust1975"/><ref name="ReferenceG"/>List of recordings 1937: ''[[With a Smile and a Song (song)|With a Smile and a Song]]'' (#B-7343) – [[Frank Churchill]]/[[Larry Morey]], ''[[Whistle While You Work]]'' (#B-7343) – [[Frank Churchill]]/[[Larry Morey]], ''It's Wonderful'' (#B-7333), ''I'm the One Who Loves You'' (#B-7333), ''There's a New Moon Over the Old Mill'' (#B-7355) – [[Allie Wrubel]]/[[Herb Magidson]], ''Goodnight, Angel'' (#B-7355) [[Allie Wrubel]]/[[Herb Magidson]], ''Bob White (Whatcha Gonna Swing Tonight?)'' (#B-7345) – [[Bernard Hanighen]]/[[Johnny Mercer]]
* ''Chicago Musette-John Serry and His Accordion'' – Versailles (catalogue # 90 M 178) released in France (1958)<ref name="catalogue.bnf.fr"/><ref name="auto3"/> List of musical arrangements: ''Rock and Roll Polka'' – [[Mort Lindsey]]/George Skinner, ''[[My Heart Cries for You]]''- [[Percy Faith]]/[[Carl Sigman]], ''[[Secret Love (Doris Day song)|Secret Love]]'' -[[Paul Francis Webster|Paul Webster]]/[[Sammy Fain]], ''[[Granada (song)|Granada]]'' – [[Agustín Lara]]

== Filmography ==
* ''[[The Big Broadcast of 1938]]'' (1938) – as himself, performing with the Shep Fields Orchestra.<ref>{{cite book|title=The big broadcast of 1938|date=26 November 2018|oclc = 934654999}}</ref>

== Invention ==
Serry was granted a patent in 1966 by the [[United States Patent Office]] for his design of a protective shield for collapsible toothpaste tubes (US Patent #US3269604).<ref>''Protective Shield For Collapsible Paste Tubes #US 3269604 A'' Inventor John Serry [https://patents.google.com/patent/US3269604 as listed on Google.com/patents]</ref><ref>[https://books.google.com/books?id=AHobAQAAMAAJ&dq=John+Serry&pg=PA1973 "Official Gazette: United States Patent Office" : # 3,269,604 -''Protective Shield For Collapsible Paste Tubes filed by John Serry'', August 30, 1966, p. 1973 on google.com/books]</ref> A patent for the same design was also granted to him by the [[Canadian Intellectual Property Office|Canadian Patent Office]] in 1966 (Serial #998,449 May 14, 1966).<ref>[https://books.google.com/books?id=2LdQAAAAYAAJ&q=%22+John+Serry+%22 ''Canadian Patent Office Record'' 1967 Vol 95, p. 7659 -"Protective Shield for Collapsible Paste Tubes...John Serry, USA...May 1966 Serial # 980,449 on Google Books]</ref>

== Publications ==
* {{Citation|last=Serry|first=John|title=The Danzon, The Bolero, The Rumba – The Substitute American Rhythm Emphasis Laid on Going Native|magazine=Accordion News|date= 1935}}<ref name="ReferenceH">[https://books.google.com/books?id=63LFkLKKPxIC&q=John%20Serry Accordion News & John Serry on Google Books]</ref>
* {{Citation|last=Serry|first=John|title=Training: Reading From Piano Scores. Stumbling Cues. Avoid Time Wasters|magazine=Accordion News|date=1935}}<ref name="ReferenceH"/>
* {{Citation|last=Serry|first=John|title=Chorus|magazine=Accordion News|date=1936}}<ref>[https://books.google.com/books?id=LJ5peQ2vYrgC&q=John%20Serry Accordion News & John Serry on Google Books]</ref>
* {{Citation|last=Serry|first=John|title=Accordions & Orchestras: Past Present & Future|magazine=Accordion World|date=November 1937}}.
* {{Citation|last=Serry|first=John|title=Those Neglected Basses|magazine=Accordion World|date=March 1939}}.
* {{Citation|last=Serry|first=John|title=What's Wrong With The Accordion|magazine=Accordion World|date=1947}}.<ref name=Jacobson2007/>
* {{Citation|last=Serry|first=John|title=Jazz And The Student Accordionist|magazine=Accordion World|year=1961}}.<ref>[https://books.google.com/books?id=junZxW_-MIkC&q=John+Serry+Accordion+World Accordion World Vol. 26 No. 1, April 1961, p. 2 "Jazz and the Student Accordionist" by John Serry on Google Books]</ref>
* {{Citation|last=Serrapica|first=John|title=The Syncopated Accordionist|year=1952|publisher=Charles Colin}}.<ref name="loc.gov"/>

== Archived works ==
{{external media|float=right|width=100px|image1=The John J. Serry Sr. Collection Archive [[University of Rochester]] [[Eastman School of Music]]. [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf '''Here on esm.rochester.edu''']}}
* ''The John J. Serry Sr. Collection'' at the [[Eastman School of Music]]'s [[Sibley Music Library]] within the Ruth T. Watanabe Special Collections Department contains selected examples of Serry's original compositional scores, arrangements, LP recordings, reel to reel recording tapes of his performances, biographical articles and other biographical reference materials which have been donated for archival purposes to benefit both researchers and students. The archive includes a copy of his album ''[[Squeeze Play (album)|Squeeze Play]]'' and an audio recording of his arrangements for ''[[RCA Thesaurus]]''. Researchers may contact the staff archivist directly for further assistance in obtaining copies of scores or reviewing LP recordings.<ref name="ReferenceF"/><ref name="River Campus 1980"/><ref>[https://www.esm.rochester.edu/sibley/specialcollections/findingaids/#S Eastman School of Music – University of Rochester – Sibley Music Library: John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music]</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection archived at the Eastman School of Music on esm.rochester.edu]</ref>

* The [[Discography of American Historical Recordings]] catalog at the University of California at Santa Barbara includes several of the master recordings of Serry's performances with the Shep Fields Rippling Rhythm Jazz Orchestra in New York City (1937-1938) which are accessible online via audio streaming.<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John Discograph of American Historical Recordings – University of California Santa Barbara: Audio recordings of John Serry in the Shep Fields Rippling Rhythm Orchestra]</ref>

== Professional affiliations ==
Serry was an active member of the [[Broadcast Music Incorporated|BMI]], [[SESAC]], [[American Federation of Musicians]] (Local #802) (1933–2003),<ref>{{cite web|url=http://www.local802afm.org/2004/01/REQUIEM-53/|title=Requiem – Associated Musicians of Greater New York – Local 802|website=Associated Musicians of Greater New York – Local 802|date=January 2004 |access-date=26 November 2018}}</ref><ref name="Serrapica p. 398"/> and The [[American Guild of Organists]]. For a brief period he served as a charter member of the [[American Accordionists Association]] (1938). He pursued professional musical studies with: Joseph Rossi (accordion, 1926–1929); Albert Rizzi (piano and harmony, 1929–1932); Gene Von Hallberg (counterpoint and harmony, 1933–1934)<ref name="article10"/> (a founder of the [[American Accordionists Association]]); Jascha Zade (piano, 1945–1946);<ref name="article10"/> Arthur Guttow (organ, 1946), and Robert Strassburg (piano, advanced harmony, and orchestration, 1948–1950).

== See also ==
[[Accordion music genres]] 
[[Bolero]] 
[[Easy listening]] 
[[Secular Jewish music]] 
[[Wedding music]]
{{Portal bar|Biography|Music|Latin music|Classical music|Jazz}}

== References ==
{{reflist}}

== External links ==
* [https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf The John J. Serry Sr Collection at the Eastman School of Music – archive of scores, compositions, arrangements and recordings by John Serry at the University of Rochester's Eastman School of Music – Sibley Music Library- Ruth T. Watanabe Special Collections]
* [http://gallica.bnf.fr/ark:/12148/bpt6k88198701?rk=21459;2 ''Chicago Musette – John Serry et son Accordeon'' – sound recording of Serry performing "Granada" by Agustin Lara on BnF Gallica.bnf.fr {{in lang|fr}}]
* [https://archive.org/details/78_tres-palabras_luis-g-roldan-alfredo-antonini-y-su-orquesta-pan-americana-cbs-os_gbia0033510a ''Tres Palabras'' – sound recording of Serry performing "Tres Palabras" by Osvaldo Farres – CBS Pan American Orchestra, Vocalist Luis G. Roldan on Archive.org]
* [http://frontera.library.ucla.edu/frontera-search?keywords=Orquesta+Pan+Americana+CBS ''Asi'', ''Esta Noche Ha Pasado'', ''Somos Differentes'', and ''Tres Palabras'' – Sound recordings of John Serry Sr. performing as accordionist in the Orquesta Pan Americana with Alfredo Antonini conducting with vocalist Luis G. Roldan at the University of California Los Angeles on fronter.library.ucla.edu]
* [http://catalog.nypl.org/search/o747952344 ''It's a Grand Night for Singing'' – CBS radio program excerpt from Program of the Three Americas -Viva America Orchestra sound recording at the New York City Public Library Online Catalog at catalog.nypl.org]
* [https://catalog.loc.gov/vwebv/holdingsInfo?searchId=9754&recCount=25&recPointer=0&bibId=12137206 ''Latin American Music'' – Viva America Orchestra 78 RPM sound recordings at The Library of Congress Online Catalog at catalog.loc.gov]
* [https://www.archives.gov/research/guide-fed-records/groups/229.html#229.6.2 Copies of selected radio broadcasts by the Office of the Coordinator of Inter-American Affairs – Radio Division as archived at the United States National Archive www.archives.gov]
* [https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John Discography of American Historical Recordings: University of California Santa Barbara – Audio recordings online of John Serry and the Shep Fields Rippling Rhythm Orchestra 1937 – 1938]
* [https://adp.library.ucsb.edu/index.php/mastertalent/detail/356873/Serrapica_John Discography of American Historical Recordings: University of California Santa Barbara – Audio recordings online of John Serrapica (aka John Serry) and the Charles Magnante Accordion Band 1941]
* [https://www.worldcat.org/search?q=John+Serry+accordionist ''The Syncopated Accordionist'', ''Rhythm-Airs'', ''The Bugle Polka'', ''Consolation Waltz'' – Musical scores by John Serry on WorldCat.org]
* [https://www.worldcat.org/title/945114698 ''Fantasy In F'' – Musical score by John Serry on WorldCat.org]
* [https://www.worldcat.org/title/945114662?oclcNum=945114662 ''Glissando'' – Musical score by John Serry on worldCat.org]
*[https://www.worldcat.org/title/945114625?oclcNum=945114625 ''Tarantella'' – Musical score by John Serry on WorldCat.org]

{{Authority control}}

{{DEFAULTSORT:Serry, John Sr.}}
[[Category:1915 births]]
[[Category:2003 deaths]]
[[Category:Musicians from Brooklyn]]
[[Category:People from Brookville, New York]]
[[Category:Classical musicians from New York (state)]]
[[Category:Jazz musicians from New York (state)]]
[[Category:20th-century accordionists]]
[[Category:20th-century American composers]]
[[Category:20th-century American male musicians]]
[[Category:20th-century classical composers]]
[[Category:20th-century jazz composers]]
[[Category:20th-century organists]]
[[Category:American classical accordionists]]
[[Category:American classical composers]]
[[Category:American classical organists]]
[[Category:American jazz accordionists]]
[[Category:American jazz composers]]
[[Category:American male classical composers]]
[[Category:American music arrangers]]
[[Category:American people of Italian descent]]
[[Category:Dot Records artists]]
[[Category:Jazz-influenced classical composers]]
[[Category:American male jazz composers]]
[[Category:American male classical organists]]