Politics In Music Essay - Mayland Cabinets

I examine some of Bates’s work—, and his creative partnership with the YouTube Symphony Orchestra—as well as the journalistic, institutional, and corporate rhetoric promoting him. Bates and his supporters routinely deploy revolutionary language about freedom and individuality while actually serving the interests of capital, which is an important feature of neoliberal rationality. Ultimately, I argue that Bates has achieved his success primarily by aligning not only his music but, by extension, “classical music” itself, with the values of America’s neoliberal elite.

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Writing through music : essay on music, culture, and politics

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The previous decade brought a different tenor to the civil-rights movement. Brian Ward and Reebee Garofalo help us re-tell this history in a way that shows how popular music reflected and sometimes even pre-figured larger political changes. While Ray Charles, for example, fused the religious and secular music of the gospel and blues/jazz, the (SCLS), led by Martin Luther King Jr. and NAACP/ CORE/ SNCC were fusing religious and secular organizations. While 1954 brought and the legal prohibition of segregation, it also brought The Chords’ release of , which was one of the first R&B songs to cross over from the black market to white mainstream consumption, pointing to the desegregation of musical consumption. was soon followed by Fats Domino, Little Richard and Chuck Berry, all of whom were consumed in the mainstream pop market, and who opened the way for Rock & Roll. Market forces also helped mould a more mainstream and sweet pop styles, such as those found with the Platters and Brook Benton, with a presentation and sound that was decidedly conventional; signaling the possibility of assimilation to and acceptance by majority culture. As Brian Ward writes,

Music & Politics: The Argentine … | Essay

Having seen Aristotle's definition of the city and its purpose, we then get an example of Aristotle's usual method of discussing political topics. He begins by examining opinions which are "generally accepted," which means, as he says in the Topics at 100b21, "are accepted by everyone or by the majority or by the philosophers - i.e. by all, or by the majority, or by the most notable and illustrious of them" on the grounds that any such opinions are likely to have at least some truth to them. These opinions (the Greek word isendoxa), however, are not completely true. They must be systematically examined and modified by scholars of politics before the truths that are part of these opinions are revealed. Because Aristotle uses this method of examining the opinions of others to arrive at truth, the reader must be careful to pay attention to whether a particular argument or belief is Aristotle's or not. In many cases he is setting out an argument in order to challenge it. It can be difficult to tell when Aristotle is arguing in his own voice and when he is considering the opinions of others, but the reader must carefully make this distinction if they are to understand Aristotle's teachings. (It has also been suggested that Aristotle's method should be seen as an example of how political discussion ought to be conducted: a variety of viewpoints and arguments are presented, and the final decision is arrived at through a consideration of the strengths and weaknesses of these viewpoints and arguments). For a further discussion of Aristotle’s methodology, see his discussion of reasoning in general and dialectical reasoning in particular in the Topics. Further examples of his approach can be found in Ethics I.4 and VII.1.

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Get this from a library! Writing through music : essay on music, culture, and politics. [Jann Pasler] -- List of Illustrations. List of Musical Examples. Introduction.

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Lastly, if we look at Cuban music as occupying a certain space in the new global landscape of music and cultural products, it can be seen as colonizing a symbolic landscape that allows the future of Cuba to be viewed as heading on a trajectory that is not just post-Communist and post-Castro, but also post-exilic and victorious over the mean-spirited politics of embargo. Music is more than an emotional expression, story or commentary on current and past events. Music also "expresses and mediates the fear of what lies ahead, and it may serve as a weapon to deflect or stay the impact of an unknown, undesired future" (Bohlman 2002, p7). In this setting, Cuban music mobilizes a wide spectrum of signs, utilizing the very rich cultural "soup" that already exists within the Caribbean setting (Davies 2000). Although the Cuban government may wish to set the trajectory of new grand narratives concerning the island, first from capitalism to Marxism, now from Marxism to a controlled capitalism (for this postmodern construction, see Davies 2000), there is no guarantee that any government will be able to control this narrative as it interacts with global audiences. Music, in its range of expression and reception, forms part of the imagined landscape (see Scruggs 1999) that influences both national identity and its perception overseas, thus shaping future opportunities that move outside of the official paths of international relations.

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Music & Politics in the Classroom: Music, Politics and …

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