Music and Protest in 1968

Beate Kutschke, Barley Norton
Cambridge University Press, 25 avr. 2013 - 327 pages
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Music was integral to the profound cultural, social and political changes that swept the globe in 1968. This collection of essays offers new perspectives on the role that music played in the events of that year, which included protests against the ongoing Vietnam War, the May riots in France and the assassination of Martin Luther King, Jr. From underground folk music in Japan to antiauthoritarian music in Scandinavia and Germany, Music and Protest in 1968 explores music's key role as a means of socio-political dissent not just in the US and the UK but in Asia, North and South America, Europe and Africa. Contributors extend the understanding of musical protest far beyond a narrow view of 'protest song' to explore how politics and social protest played out in many genres, including experimental and avant-garde music, free jazz, rock, popular song and film and theatre music.

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Table des matières

1968 and music in
the presence of musicians
American popular music and political
South Africans
the rise of underground folk song
war protest
the songbook Songs of Golden Skin 1967 114
Antiauthoritarian revolt by musical means On both sides
score bars 40 and 41 of Phonix reproduced by kind permission
music of the Eastern Bloc? 205
womanhood in model works of
Tender Love 234
early music
practices roles
Bibliography 273

new song in Latin
antiauthoritarian music movements
Discography 300
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À propos de l'auteur (2013)

Beate Kutschke is Wissenschaftliche Mitarbeiterin at the Universit t Leipzig. Her research focuses on music and protest around the year 1968 and she has published a monograph, a volume of collected papers and numerous articles on this topic. She is an internationally active researcher, who has presented papers around the world in German, English and French. She has taught in Europe, the United States (at Harvard University) and Asia (at the University of Hong Kong). A recipient of various scholarships including a three-year research grant by the German Research Foundation, she is currently writing a third monograph. Her interests range from Baroque music and music after 1945 to music and aesthetics, music and politics, and music and ethics.

Barley Norton is a senior lecturer in ethnomusicology at Goldsmiths, University of London. He has carried out extensive field research in Vietnam and other countries in Southeast Asia and is the author of Songs for the Spirits: Music and Mediums in Modern Vietnam (2009). As part of a Getty-funded research project on experimental music performance in Vietnam, he made the ethnographic film Hanoi Eclipse: The Music of Dai Lam Linh (2010), which has been screened at numerous international film festivals.

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