This volume gathers together a cross-section of essays and book chapters dealing with the ways in which musicians and their music have been pressed into the service of political, nationalist and racial ideologies. Arranged chronologically according to their subject matter, the selections cover Western and non-Western musics, as well as art and popular musics, from the eighteenth century to the present day. The introduction features detailed commentaries on sources beyond those included in the volume, and as such provides an invaluable and comprehensive reading list for researchers and educators alike. The volume brings together for the first time seminal articles written by leading scholars, and presents them in such a way as to contribute significantly to our understanding of the use and abuse of music for ideological ends.
Edited by:
Mark Carroll
Series edited by:
Dr. Mark Carroll
Imprint: Routledge
Country of Publication: United Kingdom
Edition: New edition
Dimensions:
Height: 246mm,
Width: 174mm,
Weight: 1.406kg
ISBN: 9781409429685
ISBN 10: 1409429687
Series: The Library of Essays on Music, Politics and Society
Pages: 614
Publication Date: 28 October 2012
Audience:
Professional and scholarly
,
Undergraduate
Format: Hardback
Publisher's Status: Active
Contents: Introduction; Music and ideology: Rameau, Rousseau, and 1789, Charles B. Paul; The French musical theater: maintaining control in Caribbean colonies in the 18th-century, David M. Powers; Mozart and Freemasonry, Katharine Thomson; Beethoven’s political music, the Handelian sublime, and the aesthetics of prostration, Nicholas Mathew; Deconstructing a ’national composer': Chopin and Polish exiles in Paris, 1831-49, Jolanta T. Pekacz; On Ruslan and Russianness, Marina Frolova-Walker; Music in Paris during the Franco-Prussian war and the Commune, Jess Tyre; The old lie, Glenn Watkins; The composer as intellectual: ideological inscriptions in French interwar neoclassicism, Jane F. Fulcher; The distorted sublime: music and National Socialist ideology - a sketch, Reinhold Brinkmann; What is ’Nazi music’?, Pamela M. Potter; Public lies and unspeakable truth interpreting Shostakovich’s 5th symphony, Richard Taruskin; Beyond the folk song: or, what was Hungarian Socialist Realist music?, Danielle Fosler-Lussier; Ike gets Dizzy, Penny M. Von Eschen; Born under a bad sign, Robin Denselow; Rock and the politics of memory, Simon Frith; Appropriating the master’s tools: Sun Ra, the Black Panthers and Black consciousness, 1952-1973, Daniel Kreiss; Music under Mao, its background and aftermath, Mao Yu Run; Power, authority and music in the cultures of Inner Asia, Jean During; As Plato duly warned: music, politics and social change in coastal East Africa, Kelly M. Askew; African music, ideology and utopia, Nick Nesbitt; Brechtian hip-hop: didactics and self-production in post-Gangsta political mixtapes, George Ciccariello Maher; Political music and the politics of music, Lydia Goehr; Name index.
Mark Carroll is Associate Professor, Elder Conservatorium and Dean (Research), Faculty of Humanities and Social Sciences, University of Adelaide, Australia. Charles B. Paul, David M. Powers, Katharine Thomson, Nicholas Mathew, Jolanta T. Pekacz, Marina Frolova-Walker, Jess Tyre, Glenn Watkins, Jane F. Fulcher, Reinhold Brinkmann, Pamela M. Potter, Richard Taruskin, Danielle Fosler-Lussier, Penny M. Von Eschen,, Robin Denselow, Simon Frith, Daniel Kreiss, Mao Yu Run, Jean During, Kelly M. Askew, Nick Nesbitt, George Ciccariello Maher, Lydia Goehr.
