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Music, Power, and Politics presents sixteen different cultural perspectives on the concept of music as a site of socio-political struggle. Essays by scholars from around the world explore the means by which music's long-acknowledged potential to persuade, seduce, indoctrinate, rouse, incite, or even silence listeners, has been used to advance agendas of power and protest. The essays included examine: music used to convey political ideology in Nazi Germany, apartheid-era South Africa, and modern-day North Korea postcolonial musical efforts to reclaim ethnic heritage in Serbia and the Caribbean music as a means of establishing new cultural identities for recently empowered social groups in the UK and Brazil the subversion of racial stereotypes through popular music in the USA music as a tool of popular resistance to oppressive government policies in modern day Iran and the Bolivian Andes
INTRODUCTIONAnnie J. RandallCHAPTER 1A Censorship of Forgetting: Origins and Origin Myths of "Battle Hymn of the Republic"Annie J. RandallCHAPTER 2Discipline and Choralism: The Birth of Musical ColonialismGrant OlwageCHAPTER 3Power Needs Names: Hegemony, Folklorization, and the Viejitos Dance of Michoacán, MexicoRuth Hellier-TinocoCHAPTER 4The Power to Influence Minds: German Folk Music During the Nazi Era and AfterBritta SweersCHAPTER 5The Making of a National Musical Icon: Xian Xinghai and his Yellow River CantataHon-Lun YangCHAPTER 6Dancing for the Eternal PresidentKeith HowardCHAPTER 7"Después de 500 Años" [After 500 Years]: The Role of Saya in Bolivia's Black Cultural MovementRobert W. TemplemanCHAPTER 8The Power of Recently Revitalized Serbian Rural Folk Music in Urban SettingsJelena JovanovicCHAPTER 9Hands off my instrument!Helen ReddingtonCHAPTER 10Barbadian Tuk Music - A Fusion of Musical CulturesSharon MeredithCHAPTER 11There Goes the Transnational Neighborhood: Calypso Buys a BungalowMichael EldridgeCHAPTER 12Fighting for the Right (to) Party? Discursive Negotiations of Power in Pre-Unification East German Popular MusicEdward LarkeyCHAPTER 13Who's Listening?Bennett HoggCHAPTER 14Subversion and Counter-subversion: Power, Control and Meaning in the New Iranian Pop MusicLaudan Nooshin
