It is common to hear talk of how music can inspire crowds, move
individuals and mobilise movements. We know too of how governments
can live in fear of its effects, censor its sounds and imprison its
creators. At the same time, there are other governments that use
music for propaganda or for torture. All of these examples speak to
the idea of music's political importance. But while we may share
these assumptions about music's power, we rarely stop to analyse
what it is about organised sound - about notes and rhythms - that
has the effects attributed to it.
This is the first book to examine systematically music's
political power. It shows how music has been at the heart of
accounts of political order, at how musicians from Bono to Lily
Allen have claimed to speak for peoples and political causes. It
looks too at the emergence of music as an object of public policy,
whether in the classroom or in the copyright courts, whether as
focus of national pride or employment opportunities.
The book brings together a vast array of ideas about music's
political significance (from Aristotle to Rousseau, from Adorno to
Deleuze) and new empirical data to tell a story of the
extraordinary potency of music across time and space. At the heart
of the book lies the argument that music and politics are
inseparably linked, and that each animates the other.
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