Music and Ideology

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.

Biography

Mark Carroll is Associate Professor, Elder Conservatorium and Dean (Research), Faculty of Humanities and Social Sciences, University of Adelaide, Australia.