By Annie J. Randall
Track, energy, and Politics provides 13 varied cultural views on a unmarried subject: the concept that of tune as a website of socio-political fight. Essays by means of students from seven international locations (England, People's Republic of China, Germany, South Africa, united states, the previous Yugoslavia, and Iran) discover the capacity during which music's long-acknowledged strength to cajole, seduce, indoctrinate, rouse, incite, or perhaps silence listeners has been used to improve agendas of energy and protest. The cultural and old scope of the gathering is deliberately wide and comprises essays that study: song used to express political ideology in Nazi Germany, apartheid-era South Africa, Mao's China, and modern-day North Korea; propagandistic well known music in civil war-era united states; hegemonic techniques within the folklorization of indigenous dance in Mexico; postcolonial musical efforts to reclaim ethnic history in Serbia and Barbados; punk track as a way of creating new cultural identities for ladies within the united kingdom; the subversion of racial stereotypes via Trinidadian track within the united states; track as a device of well known resistance in modern-day Iran; governmental keep watch over of song recording and broadcast in pre-unification East Germany; and techniques of surveillance and tool kin inside audio applied sciences in Bosnia and Herzegovina. students and scholars of tune, politics, and cultural historical past will get pleasure from thisgroundbreaking assortment.
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Additional resources for Music, Power, and Politics
Bruce, And They All Sang Hallelujah: Plain Folk Camp-Meeting Religion 1800–1845 (Knoxville: University of Tennessee Press, 1974), 53. 48. Ellen Eslinger, Citizens of Zion: The Social Origins of Camp Meeting Revivalism (Knoxville: University of Tennessee Press, 1999), 222. 49. Eslinger, Citizens of Zion, 227. 50. Eslinger, Citizens of Zion, 225–40. 51. This is not to suggest naively that race, class, and gender divisions were erased in the antebellum camp meeting; they were, however, markedly less rigid than in American society at large.
42. torium gives the year of publication as 1861. It is likely that Ditson’s copyright was issued ofﬁcially in 1862, months after the music was offered for sale. Articles in the popular press such as those cited above (Hostetter 1942, Woollcott 1942, and Tharp 1956) include no references to “Say Brothers” or camp meetings. George Kimball, a member of the Massachusetts regiment that created the contrafactum “John Brown’s Body” from “Say Brothers,” describes the process by which the troops came to know the camp meeting hymn and the circumstances surrounding the creation of the new text.
New England Magazine, new series 1 (1890): 371–76. Lorenz, Ellen Jane. Glory, Hallelujah! The Story of the Camp Meeting Spiritual. Nashville: Parthenon Press, 1980. MacIntyre, John J. The Composer of the Battle Hymn of the Republic. New York: self-published, 1917. Richards, Laura, and Maud Howe Elliott. Julia Ward Howe: 1819–1910. , The Riverside Press, Cambridge, 1925. Seeger, Pete, and Bob Reiser. Everybody Says Freedom: A History of the Civil Rights Movement in Songs and Pictures. W. , 1989.
Music, Power, and Politics by Annie J. Randall