This volume analyses the narration of the social through music and the seismographic function of music to detect social problems and envision alternatives.
Beyond state-driven attempts to link musical production to the official narrative of the nation, mass musical movements emerged during the 20th century that provided countercultural and alternative narratives of the prevailing social context. The Americas contain numerous examples of the strong connection between music and politics; Woody Guthrie’s "This Land is Your Land" envisioned a socialist transformation of the U.S., the Chilean Nueva Canción created a narrative and affective frame for the recognition of popular culture as a central element of the cultural politics of the Chilean way to socialism, and Reggae emerged as a response to British colonialism, drawing inspiration and guidance from the pan-Africanist visions of Marcus Garvey.
Providing a significant contribution to the study of music and politics/social movements from an inter-American perspective, this book will appeal to students and scholars of U.S. and Latin American Cultural Studies, Transnational Studies, History and Political Studies, Area Studies, and Music Studies.
For additional information, please see the authors' Sonic Politics webpage: https://www.uni-bielefeld.de/cias/sonicpolitics/index.html
Introduction: Sonic politics: music and the narration of the social in the Americas from the 1960s to the present, Olaf Kaltmeier and Wilfried Raussert; Chapter 1: Singing resistance, rebellion, and revolution into being: collective political action and song, Helen Cordes and Eric Selbin; Chapter 2: African American music in the Americas: slavery, sounds, and forms of "knowledge", Ulfried Reichardt; Chapter 3: "Only a Pawn in their game?" Civil rights sounding signatures in the summer of 1963, Frank Mehring; Chapter 4: Inter-public-agenda-setting effect through political activism: the role of hip-hop music in the 2004 U.S. Presidential Election, Maria de los Angeles Flores, Carol L. Adams-Means, and Maxwell E. McCombs; Chapter 5: "Calling out around the world": how soul music transnationalized the African American freedom struggle in the black power era (1965-1975), Matti Steinitz; Chapter 6: "Si Una Vez": chicana sensibilities and Xicanista soundscapes, Miriam Strube; Chapter 7: Hip-hop in Ciudad Juarez: a form of political participation, Maria del Carmen de la Peza C.; Chapter 8: The Fandango Sin Fronteras movement and sonic migrations: performing community across borders, Wilfried Raussert; Chapter 9: The search for a new collective epic in Nicaraguan post-revolutionary music, Luis E. Duarte; Chapter 10: Rockin’ for Pachamama: political struggle and the narration of history in Ecuadorian rock music, Olaf Kaltmeier; Chapter 11: Punk is dead. Or is it? Strategies of subcultural positioning in the (re-)making of the punk movement, Martin Butler; Chapter 12: Political pie-throwing: Dead Kennedys and the Yippie-Punk continuum, Michael Stewart Foley