Music and PoliticsPolity, 2012 - 195 pages It is common to hear talk of how music can inspire crowds, move individuals and mobilise movements. We know too of how governments can live in fear of its effects, censor its sounds and imprison its creators. At the same time, there are other governments that use music for propaganda or for torture. All of these examples speak to the idea of music’s political importance. But while we may share these assumptions about music’s power, we rarely stop to analyse what it is about organised sound - about notes and rhythms - that has the effects attributed to it. This is the first book to examine systematically music’s political power. It shows how music has been at the heart of accounts of political order, at how musicians from Bono to Lily Allen have claimed to speak for peoples and political causes. It looks too at the emergence of music as an object of public policy, whether in the classroom or in the copyright courts, whether as focus of national pride or employment opportunities. The book brings together a vast array of ideas about music’s political significance (from Aristotle to Rousseau, from Adorno to Deleuze) and new empirical data to tell a story of the extraordinary potency of music across time and space. At the heart of the book lies the argument that music and politics are inseparably linked, and that each animates the other. |
Table des matières
making connections | 1 |
Sound barriers censoring music | 9 |
Falling on deaf ears? Music policy | 24 |
Striking a chord from political communication to political representation | 41 |
All together now music as political participation | 62 |
Fight the power music as mobilization | 79 |
Invisible republics making music making history | 98 |
Sounding good the politics of taste | 118 |
Politics as music the sound of ideas and ideology | 140 |
One more time with feeling music as political experience | 160 |
repeat and fade | 174 |
References | 176 |
192 | |
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Expressions et termes fréquents
action Adorno aesthetic Anthology argues argument artists audience Bob Dylan Bob Geldof Bono broadcasting Cambridge censors censorship censorship of music chapter Chevigny Christgau claim Cloonan conservatism conservative constitute context create critics David Widgery debut democracy example experience expression festival folk music Garofalo genre Goodyer Greil Marcus ibid ideas identified identity ideology important involved jazz judgement linked Live Aid London Marcus matter means ment Mercury Music Prize moral music and musicians music and politics music industry music policy narrative organization particular performers played PMRC political music political participation political values popular music prize punk radical RAR’s records regimes represent Rock Against Racism Roger Scruton role Rousseau Scruton seen sense Simon Frith social movements songs sound stars story suggests Taliban taste tion tradition University Press Widgery Woodstock writes