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Music and Protest in 1968 by Beate Kutschke,Barley Norton Pdf
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 the '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.
This volume of essays brings together some of the best writing on music and protest from the last thirty years. The collection encompasses a variety of genres and a wide range of topics, and selects chapters on music from fifteen different countries. Written by leading researchers and educators, this volume is an indispensable collection for those working in the fields of music, cultural studies, politics, history, anthropology and area studies.
This volume examines the various ways popular music has been deployed as anti-establishment and how such opposition both influences and responds to the music produced. The book's contemporary focus (largely post-1975) allows for comprehensive coverage of extremely diverse forms of popular music in relation to the creation of communities of protest. The Resisting Muse examines how the forms and aims of social protest music are contingent upon the audience's ability to invest the music with the 'appropriate' political meaning.
Why 33? Partly because that's the number of rotations performed by a vinyl album in one minute, and partly because it takes a lot of songs to tell a story which spans seven decades and five continents - to capture the colour and variety of this shape-shifting genre. This is not a list book, rather each of the 33 songs offers a way into a subject, an artist, an era or an idea. The book feels vital, in both senses of the word: necessary and alive. It captures some of the energy that is generated when musicians take risks, and even when they fail, those endeavours leave the popular culture a little richer and more challenging. Contrary to the frequently voiced idea that pop and politics are awkward bedfellows, it argues that protest music is pop, in all its blazing, cussed glory.
The Routledge History of Social Protest in Popular Music by Jonathan C. Friedman Pdf
The major objective of this collection of 28 essays is to analyze the trends, musical formats, and rhetorical devices used in popular music to illuminate the human condition. By comparing and contrasting musical offerings in a number of countries and in different contexts from the 19th century until today, The Routledge History of Social Protest in Popular Music aims to be a probing introduction to the history of social protest music, ideal for popular music studies and history and sociology of music courses.
Black Lives Matter and Music by Fernando Orejuela,Stephanie Shonekan Pdf
Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In this collection of critical studies, contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world.
Barbara Lebrun traces the evolution of 'protest' music in France since 1981, exploring the contradictions that emerge when artists who take their musical production and political commitment 'seriously', cross over to the mainstream, becoming profitable and consensual. Contestation is understood as a discourse shaped by the assumptions and practices of artists, producers, the media and audiences, for whom it makes sense to reject politically reactionary ideas and the dominant taste for commercial pop. Placing music in its economic, historical and ideological context, however, reveals the fragility and instability of these oppositions. The book firstly concentrates on music production in France, the relationships between independent labels, major companies and the state's cultural policies. This section provides the material background for understanding the development of rock alternatif, France's self-styled 'subversive' genre of the 1980s, and explains the specificity of a 'protest' music culture in late-twentieth-century France, in relation to the genre's tradition in the West. The second part looks at representations of a 'protest' identity in relation to discourses of national identity, focusing on two 1990s sub-genres. The first, chanson néo-réaliste, contests modernity through the use of acoustic instruments, but its nostalgic 'protest' raises questions about the artists' real engagement with the present. The second, rock métis, borrows from North African and Latino rhythms and challenges the 'neutral' Frenchness of the Republic, while advocating multiculturalism in problematic ways. A discussion of Manu Chao's career, a French artist who has achieved success abroad, also allows an exploration of the relationship between transnationalism and anti-globalization politics. Finally, the book examines the audiences of French 'protest' music and considers festivals as places of 'non-mainstream' identity negotiation. Based on first-hand interviews, this section highlights the vocabulary of emotions that audiences use to make sense of an 'alternative' performance, unveiling the contradictions that underpin their self-definition as participants in a 'protest' culture. The book contributes to debates on the cultural production of 'resistance' and the representation of post-colonial identities, uncovering the social constructedness of the discourse of 'protest' in France. It pays attention to its nation-specific character while offering a wider reflection on the fluidity of 'subversive' identities, with potential applications across a range of Western music practices.
Here is a skillful tracing of two tracks in the evolution of musical genres that have evolved from black religion. Songs of protest developed from the spiritual through social-gospel hymnody to culminate in songs of the civil-rights movement and the blues. Born in rebellion, they envision the Kingdom of God.Songs of praise, by contrast, express adoration. Beginning with the "ring-shout," Spencer follows the history of intoned declamation through the tongue song, Holiness-Pentecostal music, and the chanted sermon of the black preacher. Spencer's approach, termed theomusicology, unlocks the wealth of African-American sacred music with a theological key. The result is a fascinating account of a people's struggle with God in history.
An AudioFile Best Audiobook of 2020 The first in-depth biography of the legendary singer and “Voice of the Civil Rights Movement,” who combatted racism and prejudice through her music. Odetta channeled her anger and despair into some of the most powerful folk music the world has ever heard. Through her lyrics and iconic persona, Odetta made lasting political, social, and cultural change. A leader of the 1960s folk revival, Odetta is one of the most important singers of the last hundred years. Her music has influenced a huge number of artists over many decades, including Bob Dylan, Janis Joplin, the Kinks, Jewel, and, more recently, Rhiannon Giddens and Miley Cyrus. But Odetta’s importance extends far beyond music. Journalist Ian Zack follows Odetta from her beginnings in deeply segregated Birmingham, Alabama, to stardom in San Francisco and New York. Odetta used her fame to bring attention to the civil rights movement, working alongside Joan Baez, Harry Belafonte, and other artists. Her opera-trained voice echoed at the 1963 March on Washington and the Selma to Montgomery march, and she arranged a tour throughout the deeply segregated South. Her “Freedom Trilogy” songs became rallying cries for protesters everywhere. Through interviews with Joan Baez, Harry Belafonte, Judy Collins, Carly Simon, and many others, Zack brings Odetta back into the spotlight, reminding the world of the folk music that powered the civil rights movement and continues to influence generations of musicians today. Listen to the author’s top five Odetta hits while you read: 1. Spiritual Trilogy (Oh Freedom/Come and Go with Me/I’m On My Way) 2. I’ve Been Driving on Bald Mountain/Water Boy 3. Take This Hammer 4. The Gallows Pole 5. Muleskinner Blues Access the playlist here: https://spoti.fi/3c2HnF4
NEW YORK TIMES BESTSELLER • A celebration of American history through the music that helped to shape a nation, by Pulitzer Prize winner Jon Meacham and music superstar Tim McGraw “Jon Meacham and Tim McGraw form an irresistible duo—connecting us to music as an unsung force in our nation's history.”—Doris Kearns Goodwin Through all the years of strife and triumph, America has been shaped not just by our elected leaders and our formal politics but also by our music—by the lyrics, performers, and instrumentals that have helped to carry us through the dark days and to celebrate the bright ones. From “The Star-Spangled Banner” to “Born in the U.S.A.,” Jon Meacham and Tim McGraw take readers on a moving and insightful journey through eras in American history and the songs and performers that inspired us. Meacham chronicles our history, exploring the stories behind the songs, and Tim McGraw reflects on them as an artist and performer. Their perspectives combine to create a unique view of the role music has played in uniting and shaping a nation. Beginning with the battle hymns of the revolution, and taking us through songs from the defining events of the Civil War, the fight for women’s suffrage, the two world wars, the Great Depression, the civil rights movement, the Vietnam War, and into the twenty-first century, Meacham and McGraw explore the songs that defined generations, and the cultural and political climates that produced them. Readers will discover the power of music in the lives of figures such as Harriet Tubman, Franklin Roosevelt, Eleanor Roosevelt, and Martin Luther King, Jr., and will learn more about some of our most beloved musicians and performers, including Marian Anderson, Elvis Presley, Sam Cooke, Aretha Franklin, Bob Dylan, Duke Ellington, Carole King, Bruce Springsteen, and more. Songs of America explores both famous songs and lesser-known ones, expanding our understanding of the scope of American music and lending deeper meaning to the historical context of such songs as “My Country, ’Tis of Thee,” “God Bless America,” “Over There,” “We Shall Overcome,” and “Blowin’ in the Wind.” As Quincy Jones says, Meacham and McGraw have “convened a concert in Songs of America,” one that reminds us of who we are, where we’ve been, and what we, at our best, can be.
Story Behind the Protest Song by Hardeep Phull Pdf
Features the most influential musical protests and statements recorded to date, providing pop-culture viewpoints on some of the most tumultuous times in modern history. Includes songs about the Vietnam War, the civil rights movement, policy in the Middle East, teenage rebellion, animal rights, and criticisms of mass media.
The Revolution Will Not Be Televised by Noriko Manabe Pdf
Nuclear power has been a contentious issue in Japan since the 1950s, and in the aftermath of the Fukushima nuclear power plant disaster, the conflict has only grown. Government agencies and the nuclear industry continue to push a nuclear agenda, while the mainstream media adheres to the official line that nuclear power is Japan's future. Public debate about nuclear energy is strongly discouraged. Nevertheless, antinuclear activism has swelled into one of the most popular and passionate movements in Japan, leading to a powerful wave of protest music. The Revolution Will Not Be Televised: Protest Music After Fukushima shows that music played a central role in expressing antinuclear sentiments and mobilizing political resistance in Japan. Combining musical analysis with ethnographic participation, author Noriko Manabe offers an innovative typology of the spaces central to the performance of protest music--cyberspace, demonstrations, festivals, and recordings. She argues that these four spaces encourage different modes of participation and methods of political messaging. The openness, mobile accessibility, and potential anonymity of cyberspace have allowed musicians to directly challenge the ethos of silence that permeated Japanese culture post-Fukushima. Moving from cyberspace to real space, Manabe shows how the performance and reception of music played at public demonstrations are shaped by the urban geographies of Japanese cities. While short on open public space, urban centers in Japan offer protesters a wide range of governmental and commercial spaces in which to demonstrate, with activist musicians tailoring their performances to the particular landscapes and soundscapes of each. Music festivals are a space apart from everyday life, encouraging musicians and audience members to freely engage in political expression through informative and immersive performances. Conversely, Japanese record companies and producers discourage major-label musicians from expressing political views in recordings, forcing antinuclear musicians to express dissent indirectly: through allegories, metaphors, and metonyms. The first book on Japan's antinuclear music, The Revolution Will Not Be Televised provides a compelling new perspective on the role of music in political movements.
Protest Song in East and West Germany Since the 1960s by David Robb Pdf
The German protest song from the 1960s through the 1990s and how it carried forth traditions of earlier periods. The modern German political song is a hybrid of high and low culture. With its roots in the birth of mass culture in the 1920s, it employs communicative strategies of popular song. Yet its tendencies toward philosophical, poetic,and musical sophistication reveal intellectual aspirations. This volume looks at the influence of revolutionary artistic traditions in the lyrics and music of the Liedermacher of east and west Germany: the rediscovery of the revolutionary songs of 1848 by the 1960s West German folk revival, the use of the profane "carnivalesque" street-ballad tradition by Wolf Biermann and the GDR duo Wenzel & Mensching, the influence of 1920s artistic experimentation on Liedermacher such as Konstantin Wecker, and the legacy of Hanns Eisler's revolutionary song theory. The book also provides an insider perspective on the countercultural scenes of the two Germanys, examining the conditions in which political songs were written and performed. In view of the decline of the political song form since the fall of communism, the book ends with a look at German avant-garde techno's attempt to create a music that challenges conventional cultural perceptions and attitudes. Contributors: David Robb, Eckard Holler, Annette Blühdorn, Peter Thompson David Robb is Senior Lecturer in German Studies at the Queen's University of Belfast.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1938.
Songs of Social Protest by Aileen Dillane,Martin J. Power,Eoin Devereux,Amanda Haynes Pdf
Songs of Social Protest is a comprehensive companion guide to music and social protest globally. Bringing together scholars from a range of fields, it explores a wide range of examples of, and contexts for, songs and their performance that have been deployed as part of local, regional and global social protest movements, both in historical and contemporary times. Topics covered include: Aesthetics Authenticity African American Music Anti-capitalism Community & Collective Movements Counter-hegemonic Discourses Critical Pedagogy Folk Music Identity Memory Performance Popular Culture By placing historical approaches alongside cutting-edge ethnography, philosophical excursions alongside socio-political and economic perspectives, and cultural context alongside detailed, musicological, textual, and performance analysis, Songs of Social Protest offers a dynamic resource for scholars and students exploring song and singing as a form of protest.