Music and Politics
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.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Sound barriers censoring music
Falling on deaf ears? Music policy
Striking a chord from political communication to political representation
All together now music as political participation
Fight the power music as mobilization
Invisible republics making music making history
Other editions - View all
action Adorno aesthetic Anthology argues argument artists audience Bob Dylan Bob Geldof Bono broadcasting censors censorship censorship of music cent chapter Christgau claim Cloonan connection conservatism conservative constitute create critics cultural David Widgery democracy described Dylan example experience expression Eyerman festival folk music genre Goodyer Greil Marcus ibid ideas identified identity ideology important involved judgement linked Live Aid Marcus Marcus’s matter means ment Mercury Music Prize moral music and musicians music and politics music industry music policy narrative Nazis notjust organization particular performers played PMRC political music political participation political values popular music prize punk question radical RAR’s 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 Widgery Woodstock writes