DOCSLIB.ORG

Music, Power, and Politics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music, Power, and Politics Downloaded by [Central Uni Library Bucharest] at 01:54 24 September 2013 MUSIC, POWER, AND POLITICS Downloaded by [Central Uni Library Bucharest] at 01:54 24 September 2013 Downloaded by [Central Uni Library Bucharest] at 01:54 24 September 2013 MUSIC, POWER, AND POLITICS Edited by Annie J. Randall Downloaded by [Central Uni Library Bucharest] at 01:54 24 September 2013 ROUTLEDGE NEW YORK AND LONDON Johns Hopkins University Press has generously given permission to reprint Michael Eldridge’s essay, “There Goes the Transnational Neighborhood: Calypso Buys a Bungalow,” from Callaloo 25:2 (2002). Published in 2005 by Routledge 270 Madison Avenue New York, NY 10016 Published in Great Britain by Routledge 2 Park Square Milton Park, Abingdon Oxon OX14 4RN U.K. www.routledge.co.uk This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Copyright © 2005 by Routledge All rights reserved.No part ofthis book may be reprinted or reproduced or utilized in any form or by any electronic,mechanical or other means,now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Music, power, and politics / edited by Annie J. Randall. p. cm. Includes bibliographical references and index. ISBN 0-415-94364-7 (hb : alk. paper) 1. Popular music–Social aspects. 2. Folk music—Social aspects. I. Randall, Annie Janeiro. ML3470.M893 2004 Downloaded by [Central Uni Library Bucharest] at 01:54 24 September 2013 780'.9—dc22 2004001365 ISBN 0-203-32975-9 Master e-book ISBN Contents Acknowledgments vii Introduction 1 1. A Censorship of Forgetting: Origins and Origin Myths 5 of “Battle Hymn of the Republic” Annie J. Randall 2. Discipline and Choralism: The Birth of Musical Colonialism 25 Grant Olwage 3. Power Needs Names: Hegemony, Folklorization, 47 and the Viejitos Dance of Michoacán, Mexico Ruth Hellier-Tinoco 4. The Power to Influence Minds: German Folk Music 65 during the Nazi Era and After Britta Sweers Downloaded by [Central Uni Library Bucharest] at 01:54 24 September 2013 5. The Making of a National Musical Icon: Xian Xinghai 87 and His Yellow River Cantata Hon-Lun Yang 6. Dancing for the Eternal President 113 Keith Howard 7. The Power of Recently Revitalized Serbian Rural Folk Music 133 in Urban Settings Jelena Jovanoviç 8. Hands Off My Instrument! 143 Helen Reddington 9. Barbadian Tuk Music—A Fusion of Musical Cultures 157 Sharon Meredith 10. There Goes the Transnational Neighborhood: 173 Calypso Buys a Bungalow Michael Eldridge 11. Fighting for the Right (to) Party? Discursive Negotiations 195 of Power in Preunification East German Popular Music Edward Larkey 12. Who’s Listening? 211 Bennett Hogg 13. Subversion and Countersubversion: Power, Control, 231 and Meaning in the New Iranian Pop Music Laudan Nooshin Contributors 273 Index 277 Downloaded by [Central Uni Library Bucharest] at 01:54 24 September 2013 Acknowledgments I am grateful to the British Forum for Ethnomusicology which, with the generous support of the British Academy, sponsored the society’s annual meeting in 2001 (London, UK). Its theme of “Music and Power” provided the cornerstone for this volume; twelve of the thirteen essays here were presented as conference papers for that meeting. The additional essay, by Michael Eldridge, was presented as a paper at the 2001 annual meeting of the Society for American Music (Port of Spain, Trinidad). Dr. Laudan Nooshin, the principal organizer of the BFE meeting and head of the program committee (that included Henry Stobart, Rachel Harris, and Maria Mendonça), is owed a huge debt of gratitude for her vision in coordinating this extremely stimulating conference. I thank also Sue Ramus and the team of student helpers from Brunel University who assisted Dr. Nooshin with local arrangements. I warmly thank each of the BFE and SAM participants who accepted my invitation to contribute their research to this volume; it has been very gratifying to correspond with this particular group of committed scholars for the past two and a half years. Thanks are due to those at Bucknell University who provided depart- mental and institutional support at various stages of this project: Vice Downloaded by [Central Uni Library Bucharest] at 01:54 24 September 2013 President and Provost Stephen Bowen, Vice President for Academic Affairs, Jim Rice, and Music Department Chair, Bill Kenny. For their help in finding materials and preparing them for publication I thank Laurel Evans, Janet Clapp, and Debra Balducci of Bucknell, Jocelyne Rubinetti of Drew Univer- sity’s library, and my research assistant, Megan Rancier. I completed most of the manuscript’s preparation in 2002–03 while viii • Acknowledgments researching Italian political music of the Fascist ventennio, first in Rome and then at Columbia University’s Italian Academy for Advanced Studies in America. Though my work on that subject will appear in a future volume, it is deeply connected to the subject matter of this one; I therefore thank the Italian Academy, its director, Professor David Freedberg, and the Fellows for their collegial support during the very fruitful period of my fellowship in New York. In the same vein I acknowledge Dario Massimi of Rome’s Gramsci Institute and the archivists at the Istituto Ernesto de Martino, Sesto Fiorentino. I am also grateful for insights gained during conversations about this project with Suzanne Cuzick (New York University), Martha Mockus (SUNY, Stony Brook), Ellie Hisama (CUNY Graduate Center and Brooklyn College), Steven Feld and Alison Leitch (University of New Mexico), Silvana Patriarca (Fordham University), Carla Cappetti (City College of New York), Pellegrino D’Acierno (Hofstra University), and Lella Gandini (American Academy in Rome). I fondly acknowledge my friends Jewel, Benny, and Viola in Cincinnati, and singing companions in Lewisburg—Emek, Bernardo, Karen, Dan, Paula, Jim, Gianna, and Barney—who share my enthusiasm for political music in general and Italian resistance songs in particular. Thanks always to my mother for her love, encouragement, and revolutionary spirit. Annie J. Randall Downloaded by [Central Uni Library Bucharest] at 01:54 24 September 2013 Introduction This book traces the operations of power—social, economic, and political—through the medium of music and through discourses about music. None of the authors makes a claim for the power of music itself to persuade, coerce, resist, or suppress; rather, they address the uses to which music is put, the controls placed on it, and discursive treatments of it. Guid- ing these investigations through a variety of historical and cultural contexts are the theories of Gramsci, Adorno, Foucault, Baudrillard, and Attali; indeed, the volume could be viewed as a set of case studies based on these scholars’ theories. Several themes run through the book, and the chapters can be grouped accordingly. Jelena Jovanoviç’s “The Power of Recently Revitalized Serbian Rural Folk Music in Urban Settings” and Sharon Meredith’s “Barbadian Tuk Music—A Fusion of Musical Cultures” might be read together as investigations of music that assert racial or ethnic identity against the homogenizing tendencies of the nation-state. Jovanoviç’s chapter also relates to Bennett Hogg’s “Who’s Listening?”; both examine the operations of power through music in territories of the former Yugoslavia, although Hogg concentrates on the use of modern electronic technologies while Downloaded by [Central Uni Library Bucharest] at 01:54 24 September 2013 Jovanoviç examines the recovery of ancient rural folk singing traditions. Singing traditions are also the topic of Grant Olwage’s “Discipline and Choralism: The Birth of Musical Colonialism,”which views choral instruc- tion methods through a Foucauldian lens. Intersections of electronic technology, music, and gender inform Helen Reddington’s “Hands Off My Instrument!”—a discussion of women in 2 • A.J.R. punk during the Thatcher era in England. Her essay, if read alongside Edward Larkey’s “Fighting for the Right (to) Party? Discursive Negotia- tions of Power in Preunification East German Popular Music,”a treatment of rock music in preunification East Germany, yields many points of simi- larity and contrast; while the time period is the same and the genre of music is similar, the issues faced by the musicians in negotiating their posi- tions vis-à-vis radio stations and the recording industry could not have been more different. Equally stark contrasts of another kind can be found between Larkey’s essay and Britta Sweers’“The Power to Influence Minds: German Folk Music during the Nazi Era and After.” Only fifty years sepa- rate the eras, but in that time eastern Germany had passed from Nazism to Communism and one form of extreme government control of music to another. Geography also ties together two essays with Caribbean themes; both Eldridge’s “There Goes the Transnational Neighborhood: Calypso Buys a Bungalow” and Meredith’s “Barbadian Tuk Music—A Fusion of Musical Cultures” focus on the uses of West Indian musical genres as tools of identity in late colonial and postcolonial time frames. The theme of music in totalitarian contexts links Sweers’ essay with Keith Howard’s “Dancing for the Eternal President,” a study of modern- day Korean mass dancing in public, government-sponsored spectacles.
Load more

Recommended publications
  • National Cultural Policy 2012 (Draft)
    NATIONAL CULTURAL POLICY MONTSERRAT (DRAFT) TABLE OF CONTENTS Pg Executive Summary 1 Philosophical Statement 1 2 Methodology 1 3 Background 2 4 Definition of Culture 4 5 Mapping the Cultural Landscape 5 6 The Cultural Backdrop 6 7 Proposed Policy Positions of the Government of Montserrat 16 8 Aims of the Policy 17 9 Self Worth and National Pride 18 10 The Arts 21 11 Folkways 24 12 Masquerades 27 13 Heritage 29 14 Education 32 15 Tourism 35 16 Economic Development 38 17 Media and Technology 41 18 Infrastructure 44 19 Implementation 47 Appendix 1 Groups & Persons Consulted Appendix 2 Consulting Instruments Select Biography EXECUTIVE SUMMARY This Executive Summary presents a brief philosophical statement, the policy positions of the government and the aims of the policy. It defines culture, outlines the areas of national life considered in the policy and provides a selection of the action to be taken. The policy document emphasizes the importance of the development of a sense of self-worth and national pride, the role of folkways in defining a Montserratian identity and the role of training, research and documentation in cultural development and preservation. Particular emphasis is placed on culture as a means of broadening the frame of economic activity. The co modification of aspects of culture brooks of no debate; it is inevitable in these challenging economic times. The policy is presented against a backdrop of the Montserrat cultural landscape. Philosophical Statement Montserrat’s culture is rooted in its history with all its trials and triumphs. Culture is not only dynamic and subject to influences and changes over time, but it is also dialectical, meaning that while it springs from history and development, culture also impacts and informs development .
    [Show full text]
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • Exploring Aspects of Korean Traditional Music in Young Jo Lee's
    EXPLORING ASPECTS OF KOREAN TRADITIONAL MUSIC IN YOUNG JO LEE’S PIANO HONZA NORI Jin Kim, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2013 APPROVED: Adam Wodnicki, Major Professor Elvia Puccinelli, Committee Member Joseph Banowetz, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies John Murphy, Interim Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Kim, Jin. Exploring Aspects of Korean Traditional Music in Young Jo Lee’s Piano Honza Nori. Doctor of Musical Arts (Performance), August 2013, 29 pp., 4 tables, 9 figures, 13 musical examples, bibliography, 32 titles. Since the 1960s, several gifted Korean composers, including perhaps most notably Young Jo Lee (b. 1943), have been internationally acclaimed for their work. In Western countries, however, there has been a scarcity of academic studies examining the artistry of the music of these Korean composers. Nonetheless, as one of today’s most recognized composers in Korea, Young Jo Lee has been invited to numerous international concerts, conferences, and festivals where his works have been played and discussed. A salient feature of his compositions is the fusion of Korean traditional music and the elements of Western compositions, such as in, for one distinctive example, his piano composition, Piano Honza Nori. This musical study describes and analyzes how Lee integrates Korean traditional elements with Western musical ideas in Piano Honza Nori. Results of this study will contribute to the limited literature on the analysis of contemporary piano composition that integrates Korean traditional elements.
    [Show full text]
  • Heroes Magazine
    HEROES ISSUE #01 Radrennbahn Weissensee a year later. The title of triumphant, words the song is a reference to the 1975 track “Hero” by and music. Producer Tony Visconti took credit for the German band Neu!, whom Bowie and Eno inspiring the image of the lovers kissing “by the admired. It was one of the early tracks recorded wall”, when he and backing vocalist Antonia Maass BOWIE during the album sessions, but remained (Maaß) embraced in front of Bowie as he looked an instrumental until towards the out of the Hansa Studio window. Bowie’s habit in end of production. The quotation the period following the song’s release was to say marks in the title of the song, a that the protagonists were based on an anonymous “’Heroes’” is a song written deliberate affectation, were young couple but Visconti, who was married to by David Bowie and Brian Eno in 1977. designed to impart an Mary Hopkin at the time, contends that Bowie was Produced by Bowie and Tony Visconti, it ironic quality on the protecting him and his affair with Maass. Bowie was released both as a single and as the otherwise highly confirmed this in 2003. title track of the album “Heroes”. A product romantic, even The music, co-written by Bowie and Eno, has of Bowie’s “Berlin” period, and not a huge hit in been likened to a Wall of Sound production, an the UK or US at the time, the song has gone on undulating juggernaut of guitars, percussion and to become one of Bowie’s signature songs and is synthesizers.
    [Show full text]
  • CARNIVAL and OTHER SEASONAL FESTIVALS in the West Indies, USA and Britain
    CORE Metadata, citation and similar papers at core.ac.uk Provided by SAS-SPACE CARNIVAL AND OTHER SEASONAL FESTIVALS in the West Indies, U.S.A. and Britain: a selected bibliographical index by John Cowley First published as: Bibliographies in Ethnic Relations No. 10, Centre for Research in Ethnic Relations, September 1991, University of Warwick, Coventry, CV4 7AL John Cowley has published many articles on blues and black music. He produced the Flyright- Matchbox series of LPs and is a contributor to the Blackwell Guide To Blues Records, and Black Music In Britain (both edited by Paul Oliver). He has produced two LPs of black music recorded in Britain in the 1950s, issued by New Cross Records. More recently, with Dick Spottswood, he has compiled and produced two LPs devoted to early recordings of Trinidad Carnival music, issued by Matchbox Records. His ‗West Indian Gramophone Records in Britain: 1927-1950‘ was published by the Centre for Research in Ethnic Relations. ‗Music and Migration,‘ his doctorate thesis at the University of Warwick, explores aspects of black music in the English-speaking Caribbean before the Independence of Jamaica and Trinidad. (This selected bibliographical index was compiled originally as an Appendix to the thesis.) Contents Introduction 4 Acknowledgements 7 How to use this index 8 Bibliographical index 9 Bibliography 24 Introduction The study of the place of festivals in the black diaspora to the New World has received increased attention in recent years. Investigations range from comparative studies to discussions of one particular festival at one particular location. It is generally assumed that there are links between some, if not all, of these events.
    [Show full text]
  • Surviving Through the Post-Cold War Era: the Evolution of Foreign Policy in North Korea
    UC Berkeley Berkeley Undergraduate Journal Title Surviving Through The Post-Cold War Era: The Evolution of Foreign Policy In North Korea Permalink https://escholarship.org/uc/item/4nj1x91n Journal Berkeley Undergraduate Journal, 21(2) ISSN 1099-5331 Author Yee, Samuel Publication Date 2008 DOI 10.5070/B3212007665 Peer reviewed|Undergraduate eScholarship.org Powered by the California Digital Library University of California Introduction “When the establishment of ‘diplomatic relations’ with south Korea by the Soviet Union is viewed from another angle, no matter what their subjective intentions may be, it, in the final analysis, cannot be construed otherwise than openly joining the United States in its basic strategy aimed at freezing the division of Korea into ‘two Koreas,’ isolating us internationally and guiding us to ‘opening’ and thus overthrowing the socialist system in our country [….] However, our people will march forward, full of confidence in victory, without vacillation in any wind, under the unfurled banner of the Juche1 idea and defend their socialist position as an impregnable fortress.” 2 The Rodong Sinmun article quoted above was published in October 5, 1990, and was written as a response to the establishment of diplomatic relations between the Soviet Union, a critical ally for the North Korean regime, and South Korea, its archrival. The North Korean government’s main reactions to the changes taking place in the international environment during this time are illustrated clearly in this passage: fear of increased isolation, apprehension of external threats, and resistance to reform. The transformation of the international situation between the years of 1989 and 1992 presented a daunting challenge for the already struggling North Korean government.
    [Show full text]
  • OZ 17 Richard Neville Editor
    University of Wollongong Research Online OZ magazine, London Historical & Cultural Collections 12-1968 OZ 17 Richard Neville Editor Follow this and additional works at: http://ro.uow.edu.au/ozlondon Recommended Citation Neville, Richard, (1968), OZ 17, OZ Publications Ink Limited, London, 48p. http://ro.uow.edu.au/ozlondon/17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] OZ 17 Description Editor: Richard Neville. Design: Jon Goodchild. Writers: Andrew Fisher, Ray Durgnat, David Widgery, Angelo Quattrocchi, Ian Stocks. Artists: Martin Sharp, John Hurford, Phillipe von Mora. Photography: Keith Morris Advertising: Felix Dennis, REN 1330. Typesetting: Jacky Ephgrave, courtesy Thom Keyes. Pushers: Louise Ferrier, Felix Dennis, Anou. This issue produced by Andrew Fisher. Content: Louise Ferrier colour back issue/subscription page. Anti-war montage. ‘Counter-Authority’ by Peter Buckman. ‘The alH f Remarkable Question’ - Incredible String Band lyric and 2p illustration by Johnny Hurford. Martin Sharp graphics. Flypower. Poverty Cooking by Felix and Anson. ‘The eY ar of the Frog’ by Jule Sachon. ‘Guru to the World’ - John Wilcock in India. ‘We do everything for them…’ - Rupert Anderson on homelessness. Dr Hipocrates (including ‘inflation’ letter featured in Playpower). Homosexuality & the law. David Ramsay Steele on the abolition of Money. ‘Over and Under’ by David Widgery – meditations on cultural politics and Jeff uttN all’s Bomb Culture. A Black bill of rights – LONG LIVE THE EAGLES! ‘Ho! Ho! Ho Chi Mall’ - the ethos of the ICA. Graphic from Nottingham University. Greek Gaols. Ads for Time Out and John & Yoko’s Two Virgins.
    [Show full text]
  • Nationalsozialistische Schulverwaltung in Hamburg. Vier Führungspersonen
    H H H F HF Hamburger Historische Forschungen | Band 1 Hamburger Historische Forschungen | Band 12 Uwe Schmidt Nationalsozialistische Schul- verwaltung in Hamburg Nach dem Machtwechsel in Hamburg Neben Karl Witt waren dies die Prote- wurde am 8. März 1933 die Schulver- gés des Gauleiters und Reichsstatthal- Vier Führungspersonen waltung dem Deutschnationalen und ters Karl Kaufmann Wilhelm Schulz, späteren Nationalsozialisten Karl Witt Albert Henze und Ernst Schrewe. Ihre unterstellt. Umgestellt auf das natio- Nähe zum Machtzentrum um Kauf- nalsozialistische Führungsprinzip wur- mann führte zu sehr unterschiedlichen de sie in zunehmendem Maße für die formalen wie informellen Verankerun- Durchsetzung nationalsozialistischer gen in den Mechanismen des poly- Erziehungsvorstellungen instrumen- kratischen nationalsozialistischen talisiert. Diese wurden vor allem über Systems. Der politische Druck, der von die Personen durchgesetzt, welche die der Spitze der Schulverwaltung auf die Behörde leiteten oder aber durch in- Schulen ausgeübt wurde, verstärkte formell ausgeübte Macht dominierten. sich seit Kriegsbeginn und erreichte sei- Verdeutlicht wird daher die Position nen Höhepunkt in der Machtfülle und der vier schulbezogenen Funktionsträ- rücksichtslosen Machtausübung des ger im Macht- und Herrschaftssystem nationalsozialistischen Senatsdirektors des Hamburger Nationalsozialismus. und Gauschulungsleiters Albert Henze. Nationalsozialistische Schulverwaltung in Hamburg ISBN 978-3-937816-49-4 ISSN 1865-3294 2 Hamburg University Press Nationalsozialistische
    [Show full text]
  • Westernisation, Ideology and National Identity in 20Th-Century Chinese Music
    Westernisation, Ideology and National Identity in 20th-Century Chinese Music Yiwen Ouyang PhD Thesis Royal Holloway, University of London DECLARATION OF AUTHORSHIP I, Yiwen Ouyang, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19 May 2012 I To my newly born baby II ABSTRACT The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China’s early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on.
    [Show full text]
  • REFORM, RESISTANCE and REVOLUTION in the OTHER GERMANY By
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository RETHINKING THE GDR OPPOSITION: REFORM, RESISTANCE AND REVOLUTION IN THE OTHER GERMANY by ALEXANDER D. BROWN A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music University of Birmingham January 2019 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The following thesis looks at the subject of communist-oriented opposition in the GDR. More specifically, it considers how this phenomenon has been reconstructed in the state-mandated memory landscape of the Federal Republic of Germany since unification in 1990. It does so by presenting three case studies of particular representative value. The first looks at the former member of the Politbüro Paul Merker and how his entanglement in questions surrounding antifascism and antisemitism in the 1950s has become a significant trope in narratives of national (de-)legitimisation since 1990. The second delves into the phenomenon of the dissident through the aperture of prominent singer-songwriter, Wolf Biermann, who was famously exiled in 1976.
    [Show full text]
  • Tradition and Legitimation in North Korea: the Role of the Moranbong Band
    Article Tradition and Legitimation in North Korea: The Role of the Moranbong Band Pekka KORHONEN and Adam CATHCART The Review of Korean Studies Volume 20 Number 2 (December 2017): 7-32 ©2017 by the Academy of Korean Studies. All rights reserved. 8 The Review of Korean Studies Introduction North Korea continues to maintain its position in the global media spotlight, having attained an almost magnetic status more central than the size and wealth of the state would ostensibly warrant. Much of this has to do with the fact that it is both an agent and the target of continuous propaganda war, the Korean peninsula being one of the main theatres where the increasing military tension in East Asia is played out. Rounds of tightening multilateral and unilateral sanctions by the United Nations and individual states create continuous speculation of a possible collapse of the North Korean regime, but its staying power has been surprising over the decades. The Democratic People’s Republic of Korea (DPRK) was officially founded in 1948, making it now 69 years old. There must be reasons why it does not easily collapse, and the usual propagandistic explanations of repression, surveillance, information control, and harsh punishments are not satisfactory as the sole reasons (Eberstadt 2013). Significant changes are taking place in the society. This is what observers of North Korean economy have been arguing already for years (Smith 2015, 260- 93; Lankov and Kim 2008; Lankov 2015), but changes are occurring also in the cultural sphere. North Korea as a distinct society already has traditions spanning over three generations, and with them the state has a proven order and a certain legitimacy, which helps in understanding its resilience even against the collective will of the rest of the world.
    [Show full text]
  • Trent 91; First Steps Towards a Stylistic Classification (Revised 2019 Version of My 2003 Paper, Originally Circulated to Just a Dozen Specialists)
    Trent 91; first steps towards a stylistic classification (revised 2019 version of my 2003 paper, originally circulated to just a dozen specialists). Probably unreadable in a single sitting but useful as a reference guide, the original has been modified in some wording, by mention of three new-ish concordances and by correction of quite a few errors. There is also now a Trent 91 edition index on pp. 69-72. [Type the company name] Musical examples have been imported from the older version. These have been left as they are apart from the Appendix I and II examples, which have been corrected. [Type the document Additional information (and also errata) found since publication date: 1. The Pange lingua setting no. 1330 (cited on p. 29) has a concordance in Wr2016 f. 108r, whereti it is tle]textless. (This manuscript is sometimes referred to by its new shelf number Warsaw 5892). The concordance - I believe – was first noted by Tom Ward (see The Polyphonic Office Hymn[T 1y4p0e0 t-h15e2 d0o, cpu. m21e6n,t se suttbtinigt lneo] . 466). 2. Page 43 footnote 77: the fragmentary concordance for the Urbs beata setting no. 1343 in the Weitra fragment has now been described and illustrated fully in Zapke, S. & Wright, P. ‘The Weitra Fragment: A Central Source of Late Medieval Polyphony’ in Music & Letters 96 no. 3 (2015), pp. 232-343. 3. The Introit group subgroup ‘I’ discussed on p. 34 and the Sequences discussed on pp. 7-12 were originally published in the Ex Codicis pilot booklet of 2003, and this has now been replaced with nos 148-159 of the Trent 91 edition.
    [Show full text]