Suchergebnisse

chapter 1 Charles B. Paul (1971), 'Music and Ideology: Rameau, Rousseau, and 1789', Journal of the History of Ideas, 32, pp. 395-410 -- chapter 2 David M. Powers (1998), 'The French Musical Theater: Maintaining Control in Caribbean Colonies in the Eighteenth Century', Black Music Research Journal, 18, pp. 229-40 -- chapter 3 Katharine Thomson (1976), 'Mozart and Freemasonry', Music and Letters, 57, pp. 25-46 -- chapter 4 Nicholas Mathew (2009), 'Beethoven's Political Music, the Handelian Sublime, and the Aesthetics of Prostration', 19th Century Music, 33, pp. 110-50 -- chapter 5 Jolanta T. Pekacz (2000), 'Deconstructing a -- chapter 6 Marina Frolova-Walker (1997), 'On Ruslan and Russianness', Cambridge Opera Journal, 9, pp. 21-45 -- chapter 7 Jess Tyre (2005), 'Music in Paris during the Franco-Prussian War and the Commune', Journal of Musicology, 22, pp. 173-202 -- chapter 8 Glenn Watkins (2003), 'The Old Lie', in Proof through the Night: Music and the Great War, Berkeley: University of Califomia Press, pp. 47-60; 439-43 -- chapter 9 Jane F. Fulcher (1999), 'The Composer as Intellectual: Ideological Inscriptions in French Interwar Neoclassicism', Journal of Musicology, 17, pp. 197-230 -- chapter 10 Reinhold Brinkmann (2004), 'The Distorted Sublime: Music and National Socialist Ideology — A Sketch', in Michael H. Kater and Albrecht Riethmüller (eds), Music and Nazism: Art under Tyranny, 1933-1945, Laaber: Laaber Verlag, pp. 43-63 -- chapter 11 Pamela M. Potter (2005), 'What is -- chapter 12 Richard Taruskin (1995), 'Public Lies and Unspeakable Truth Interpreting Shostakovich's Fifth Symphony', in David Fanning (edition), Shostakovich Studies, Cambridge: Cambridge University Press, pp. 17-56 -- chapter 13 Danielle Fosler-Lussier (2007), 'Beyond the Folk Song: Or, What was Hungarian Socialist Realist Music?', in Music Divided: Bartók's Legacy in Cold War Culture, Berkeley: University of California Press, pp. 94-116; 194-7 -- chapter 14 Penny M. Von Eschen (2004), 'Ike Gets Dizzy', in Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War, Cambridge, MA: Harvard University Press, pp. 1-26; 263-70 -- chapter 15 Robin Denselow (1989), 'Born Under a Bad Sign', in When the Music's Over: The Story of Political Pop, London: Faber, pp. 1-30 -- chapter 16 Simon Frith (1988), 'Rock and the Politics of Memory', in Sohnya Sayres and others (eds), The 60s Without Apology, Minneapolis: Minnesota University Press, pp. 59-69 -- chapter 17 Daniel Kreiss (2008), 'Appropriating the Master's Tools: Sun Ra, the Black Panthers, and Black Consciousness, 1952-1973', Black Music Research Journal, 28, pp. 57-81 -- chapter 18 Mao Yu Run (1991), 'Music under Mao, Its Background and Aftermath', Asian Music, 22, pp. 97-125 -- chapter 19 Jean During (2005), 'Power, Authority and Music in the Cultures of Inner Asia', Ethnomusicology Forum, 14, pp. 143-64 -- chapter 20 Kelly M. Askew (2003), 'As Plato Duly Warned: Music, Politics, and Social Change in Coastal East Africa', Anthropological Quarterly, 76, pp. 609-37 -- chapter 21 Nick Nesbitt (2001), 'African Music, Ideology and Utopia', Research in African Literatures, 32, pp. 175-86 -- chapter 22 George Ciccariello Maher (2005), 'Brechtian Hip-Hop: Didactics and Self-Production in Post-Gangsta Political Mixtapes', Journal of Black Studies, 36, pp. 129-60 -- chapter 23 Lydia Goehr (1994), 'Political Music and the Politics of Music', Journal of Aesthetics and Art Criticism, 52, pp. 99-112.

Music and Gender. Pirkko Moisala and Beverly Diamond. eds. Champaign: University of Illinois Press, 2000. 376 pp.

This article offers an overview of musical nationalism. It considers how states have used music as a political tool as well as the ways in which communities have employed music to reject national identities and challenge nation-states.

Technique in music involves the totality of all aspects of music. Content & technique are identical, since the only things valuable in a composition are those that achieve realization, & nonidentical, since the force of a piece of art results from a dynamic tension between its interior & exterior. Today the act of musical reproduction is an integral part of the act of composition. However, if art becomes its own reproduction, then reproductions may become art, & this tension will be reduced. Several theoretical deductions related to praxis are proposed: (1) consideration of the relationship between result & expenditure, (2) control of the extent to which construction extends to the phenomena, (3) live performance as the test of the relation between construction & phenomena, (4) the mastery of profusion, (5) functional instrumentation as a parameter of composition, & (6) the illusion of complete predetermination in composition. M. Migalski.

"Citizenship is a fantasy of political community without others. How is it faring in today's world of authoritarianism, failed states, and climate crisis? In a world where democratic experiment is, by now, a networked and global proposition? What might we learn from music - and from ethnomusicology? The relationship between the idea of citizenship and music is long-standing, but it has not yet been looked at from a perspective informed by postcolonialism and today's decolonizing debates. The case studies in this volume are, consequently, drawn from across Latin America, Africa, Asia and Europe. Its first chapter locates the current ethnomusicological interest in citizenship in broad critical landscape, focusing on approaches to audience, media, voice and performance. The second surveys a growing body of recent ethnomusicological literature on citizenship, theorized in terms of identity, technocracy, and intimacy. The third comprises case studies developing an approach to citizenship and political subjectivity beyond conventional liberal categories, defined by mobility ('the citizen on his bike'), collectivity ('the citizen in the crowd') and activism ('the citizen in the square'). The conclusion offers an argument about the implications for citizenship studies of today's thinking in ethnomusicology, musicology and sound studies, reflecting on the hardening rhetoric of political belonging in Europe"--

"Until now, the intersection of music and conflict has been under-documented and under-theorized in ethnomusicology. Music and Conflict bravely addresses the 'darker side' of musical behavior, documenting how music sometimes works to incite violence and how it may also be used to rebuild communities torn apart by misunderstandings, conflict, and even war."--Nancy Guy, author of Peking Opera and Politics in Taiwan