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Page numbers in Italics indicate figures.

A&M Records, 38 American Society of Composers, accent, 246; see also beat; Authors, and Publishers syncopation (ASCAP), 55–7, 74, 76, 82, Ade, Sunny, 19, 243, 256 87n1 Adorno, Theodor Wiesengrund, anarchism, 122, 135, 116, 129, 22n4, 24–5n16, 25–6n20 250–1 aesthetics, 17, 18, 53, 93, 219, “An die Freude” (Ode to Joy), 1–2, 240–1 237n1; see also Beethoven, of punk, 115–16, 117, 119–20, Ludwig van 125, 132–5, 180 anger Africa and classical music, 213 politics and history of, 153–4, and punk music, 116, 129, 158–9 138n4, 266 African/African-derived music, 19, and Senegalese hip-hop, 153 97, 100, 101, 241–56, 259–60, Armstrong, Louis, 96, 103, 104, 108 260nn1–2, 261n4 Asian Dub Foundation (ADF ), 8, African American cultural politics, 21, 24n14 4, 17, 107–8, 142–3 Asian Underground, see Asian Dub African American jazz musicians, Foundation 17, 91, 95, 97, 101–3 associated rights, 43; see also African Diaspora, 139, 239–40, Intellectual Property Rights 260n1, 260–1n3, 261n6 atonal music, 22, 100 Afro-beat, see Kuti, Fela Attali, Jacques, 11, 24n15 agency, 15, 17, 172, 276 audiences, 4, 13, 30, 32, 44–5, Albright, Madeleine, 89, 107 47–50, 86, 242, 266 alienation, 123, 126, 131, 132, classical music, 204, 209, 210 138n4, 140n20; see also film, 56, 59, 61, 63, 66, 68–9 disalienation Indonesian, 169, 174 Americanization, 69, 106–7, jazz, 93, 96–9, 100, 102, 106 89, 104 opera, 209–10, 214–15, 227, American Society of Composers, 74 232–3, 236 Index 309

punk, 114, 116–17, 121–2, 127, bootlegs, 40, 44, 85, 175n2 130, 133, 138n4, 139n9, branding, 2, 31, 41, 64; 264, 267 see also commodification; rap/hip-hop, 23n10, 142, 144, marketing 145, 151, 157–8 Britten Benjamin, 213 Audio Home Recording Act Bruckner, Anton, 203 (AHRA), 78 Burns, Ken, 17, 104–5 autonomy Bush Administrations, 18, 19, 132, artistic, 65, 85 265–6, 268, 274–5 punk ethics of, 116, 123, 126, 130 Buzzcocks, The, 121, 137 avant-garde jazz, 101, 104 Cage, John, 9, 20 Bach, Johann Sebastian, 120, 200, call and response, 242, 243–6, 202, 208, 216, 217–18, 220 248, 252, 259, 261n5; see also Barenboim, Daniel, 18, 193–4; African/African derived music; see also Said, Edward rhythm Baroque music, 108, 182, 200, capitalism, 29, 33, 66, 132 216; see also Bach, Johann cassettes Sebastian audio, 35–6, 37–8, 134, 155, Bartók, Béla, 181, 184, 200, 162, 50n5 205–6, 217 video (VCR technology), 78, 81, Beach Boys, 252, 260 137–8 beat, 246, 249–50, 262n9 censorship, 4, 18, 77, 158, back-beat, 14, 156 230–2, 235 downbeat/up-beat, 245, 261n8 Chernoff, John Miller, 242–3, 247, drum beats, 127, 162, 210 261n4, 261n6 see also rhythm; syncopation choral works, see vocal music bebop, 99–102, 108 choruses, 115, 208, 209, 213, 232, Beethoven, Ludwig van, 2, 22n3, 234, 235, 244–5, 246, 249, 162, 182, 199, 207–11, 219, 252, 261n5 220, 217, 219, 237n1 “Christmas Is All Around,” Benjamin, Walter, 22 63–4; see also Love, Berg, Alban, 205–7 Actually Berlioz, Hector, 206, 209, 217 Chuck D, see Public Enemy Bertelsmann Music Group (BMG), Clash, The, 19, 20, 118, 124, 127, 31, 64, 66, 70n12 263 passim; see also under Black Diamond, 140, 149–50, 158, Playlists 159; see also Liberia class, 2, 14–15, 17, 18 blues, 5, 94, 99, 102, 256; and dangdut music, 162, 171, see also jazz 176n14 body politics, 18, 163, 174–5, and gender, 168–9 272, 277 and jazz, 97–9 of African rhythms, 192, 247–9 and opera, 226 of punk music, 116, 251 and punk, 117–18 see also gender and rap/hip-hop, 23n10, 151 310 Index classical music cross-promotion, 54, 55–6, 58, 62, and African/African-derived 64, 66–9; see also marketing; music, 241–2, 245, media 251–2, 255 culture, 6, 14, 22n4, 24n15, 26n2, love themes, 209–10 82, 87, 193, 224 non-western, 24n14, 40, 184, corporate cultures, 23n7, 131 210, 242 high/low culture, 11, 180, 225–6, western, 2, 9, 10, 11, 18, 235, 236, 240 22nn3–4, 24nn15–16, 32, popular culture, 15, 22n4, 50, 89, 180, 184, 199–221, 227, 131, 144 262n14 punk culture, 128, 130, 134 see also music; instrumental youth cultures, 4, 71–2, 141–2, music; vocal music 144, 145 Cold War, 206, 229, 269, 275 see also hip-hop; subcultures Coltrane, John, 2, 23n6, 93, 104, 108 culture industry, 2, 16, 25n2, 132; commodification, 16, 30, 33, 38, see also Adorno, Theodor, 43, 48, 49, 53, 67, 75, 82, 85, Wiesengrund 143, 147 Curtis, Richard, 63–4; see also and punk music, 124–5 Working Title Films Compact Disc (CD/CD-Rom), 16, 32, 35–8, 41, 48, 51n10, 67–8, dance, 62, 94 69, 80–2, 134; see also Internet; African/African derived, 242, piracy 250–1, 257 consumption, 29 passim, 32, 37, 42, class and gender dimensions, 171–4 44, 46–7, 53, 73, 89, 107, 117, classical music forms, 185, 133, 144–5; see also audiences; 205, 207 commodification Drill Dance (dangdut), 18, 161, convergence, 61, 225 162–3, 164–7, 170 Cooder, Ry, 35 in film, 62 cool, 93, 98, 141 and hip-hop, 151 copyright regimes, 16, 32–4, 73, and jazz, 94–7, 98, 100, 105 74–88 and punk, 114, 121–2, 264 licensing agreements, 76, 77 dangdut, 18, 162–4; see also litigation strategies (corporate), Indonesia; Inul 58, 78 passim Daratista, Inul, see Inul see also Intellectual Property Davis, Miles, 91, 102, 103, 104 Rights; piracy De-Lovely, 66 Copyright Term Extension Act Difang and Agay, 71–2 (CTEA), 76 digitization, 29, 35, 36, 38, 42, Cream, 103, 108 48–9 creativity, 22, 32, 41–2, 49, 73, 85, digital future of music, 73 passim 179, 181, 189, 207 digital (re)production and critical theory, 14; see also Adorno, distribution, 15–16, 22n4, Theodor, Wiesengrund 30, 35–9, 41–3, 45–8, 58 Index 311

Digital Millennium Rights Act everyday life, 3, 17, 113, 126, 129, (DMCA), 37–8, 77 132–3, 142 Digital Performance Right in Sound and politics, 7, 15, 240, 259 Recordings Act (DPRSRA), and rap/hip-hop, 142–3 75–6 see also (dis)alienation Digital Rights Management (DRM) software, 39 Fairness in Music Licensing Act disalienation, 17, 113, 115–16, 126 (FIMLA), 75 passim, 133, 136; see also fair use, 35, 37–9, 50n4, 78–9 alienation Federal Communications disintermediation, 47, 83 Commission (FCC), 4 dissent, 133, 218, 240, 266 filesharing, 72–3; see also Internet; Dixieland Jazz, 93, 97 piracy; sharing DJ Vadim, 23n9; see also Jones, film industry, 54–7, 58–61; see also Sarah Hollywood; media do-it-yourself (DIY), 123–5, 126, film music, 16 passim 136, 279; see also autonomy; history of, 53 passim punk and opera, 226–30 drums, 121, 127, 162, 168, 210–12, situation today, 61–7 214, 216, 262n11 Four Weddings and a Funeral, drumming and restraint, 254–5 63–4; see also Working drum-set (drum-kit), 114, 245 Title Films talking drum, 243, 245 passim, Fox News, 266 248–50, 254–5 free jazz, 100–4 Duke Ellington, 91, 92, 96 Fugazi, 115, 120–1, 129, DVD, 59, 61, 68–9, 99, 175n2; 130–1, 134 see also media Gang of Four, 121, 279 Electrical Research Products Inc. gangster (gangsta) rap, 17, 143, (ERPI), 55 147, 158 Enigma court case, 71–2 gender, 13, 95, 97, 150, 159 Eno, Brian, 86 in Indonesia, 161 passim entertainment industry, 90, 147, in opera, 235 159; see also media; music and punk, 128 industry and rap/hip-hop, 146–50 ethics (punk), see aesthetics see also class; race; women ethnicity, 13, 17, 26n1; see also Gillespie, Dizzy, 99, 100 class; gender; race Globalization, 9, 15, 16, 89, 131, European Commission, 70n12, 132, 147, 154, 184, 236 87n2 global political economy, 2, 16, 72, European Constitution, 1, 21–2n2 89, 90, 132 European Copyright Directive, 37 Goodman, Benny, 96–7 European Union Anthem, see “An Grateful Dead, 44 die Freude” grunge music, 124 312 Index guitar Hornby, Nick, 21n1; see also duos, 247–8, 252–3 Working Title Films and other instruments, 244–5 solo styles, 125, 255–6 improvisations, 2, 5, 100, 121, 256 see also restraint; rhythm: independent record labels, 45–6, 61, poly-rhythms 65, 106, 114 Gulf Wars (Iraq), 217, 271, 276; punk labels, 123–4, 129–32 see also Bush Administrations Indonesia Jakarta, 163, 164, 166 Handel, George Frederick, 183, 184, New Order gender politics, 171–5 200, 203, 208, 212, 216 New Order period, 161–2, 163 Hanslick, Eduard, 219–20 passim, 175–6n3 harmony, 100, 202, 206, 242, 252, innovation, 49, 74, 83, 100–2, 105, 258–9, 262n14 106–7, 126 Haydn, Joseph, 179, 183, 210–11 instrumental music, discussed (title, hegemony (American), 15, 89, composer/s) 90–1, 103 jazz (playlist): bebop, 108; cultural (western), 89, 240, 253 cross-over jazz, 109; neoliberal, 136 Euro-jazz, 108; swing, 108; Hendrix, Jimi, 255, 260; see also Juju: “Opening Medley: guitar; virtuosity Drums/Egbe Mi Ro,” by heterophony, 5, 9, 14 Sunny Ade, 248–9, 249, 250, High Fidelity, 1, 20; see also 254–5 Working Title Films orchestral works: 3 Pieces for highlife music, 243; see also Orchestra, by A. Berg, 205; African/African-derived music; Atmosphères, by G. Ligeti, Osadebe, Stephen 201; Dance Suite, by B. hip-hop Bartók, 217; Divertimento commercial success, 3–5, 23n10, for Strings, by B. Bartók, 143–4 205–6; Ein Heldenleben, by culture and politics, 4–5, 23n6, R. Strauss, 216; Elijah, by 144, 148, 152, 157–8, 160n2 F. Mendelssohn Bartholdy, dance, 62 208; Florilegium by and disenfranchised youth, 17, G. Moffat, 217; Juditha 141–3, 145–6, 158–9 Triumphans, by A. Vivaldi, in Liberia, 149–50 208–9; Leningrad Symphony lyrical content and significance, 4, (No. 7), by D. Shostakovich, 146, 159 182; Music for the Royal in Senegal, 151–7 Fireworks, by G. F. Handel, in Sierra Leone, 141, 146–9 212, 216; Overture Fantasia: see also rap Romeo and Juliet, by Holiday, Billie, 104 P. Tchaikovsky, 209–10; Hollywood, 22n4, 59, 60–1, 66, 90, Penthiselia: Symphonic Poem 147, 150, 226, 235, 237n2 for Large Orchestra, by Holst, Gustav, 206–7, 216, 308 H. Wolf, 210; The Planets, by Index 313

Gustav Holst, 206, 216; Six Inul (Inulmania), 18, 164 passim, Pieces for Orchestra, by 165, 171–2, 174 A. Webern, 204–5; Symphonie Inul vs. Rhoma Irama, 161–3, Fantastique, by H. Berlioz, 212; 166, 167–71, 174 Symphony No. 5, by L. van see also dangdut; Indonesia Beethoven, 207, 219; Irama, Rhoma, see Inul Symphony No.5, by R. iTunes, 47–9 Vaughan Williams, 212; Symphony No. 5, by jam sessions, 100 S. Prokofiev, 212; Symphony Japan, 98 No. 6 (Tragic), by G. Mahler, jazz 205; Symphony No. 6 bebop, 99–102 (Pastoral), by L. van Beethoven, conceptualisations of, 89–90, 217; Symphony No. 9, by 92, 104 L. van Beethoven, 2, 237; cultural politics of, 90, 97 Symphony No. 9 (Unfinished), European free jazz scene, 100–2 by A. Bruckner, 203; Un historical features, 17, 24n15 Sourire, by O. Messaien, 218; political suppression and uses of, Wellington’s Victory, by L. van 98, 103 Beethoven, 182, 207 and race, 91 Intellectual Property Rights (IPR), in the Soviet Union, 93, 103 30, 32–3, 36, 38, 40–2, 55, 57, swing, 96–9 73, 75 Jones, Sarah, 2–4, 21, 23n6 intermediation, 31, 47; see also Juju music, 243; see also under Ade, disintermediation Sunny; African/African-derived Internationale, 132–3 music International Federation of Phonographic Industries (IFPI), Kant, Immanuel, 189, 191–2, 211 39, 50 Krims, Adam, 23 international relations (research Krippendorff, Ekkehart, 18, 179–80, and/or practice), 2, 5, 7, 185–6, 194, 202 8–9, 11–12, 13, 15, 23n12, KRS-One, 142, 152–3 24n15, 53, 115–16, Kuti, Fela, 19, 243 passim; see also 132–5, 140n20, 180, 181–2, African/African-derived music 184, 189, 191, 194, 223–4, 256, 259, 269, 270, laments (musical), 212–14 273–4, 278 Last Poets, The, see Scott-Heron, Gil International Studies Association Lefebvre, Henri, 131, 138n4 (ISA) Leitmotiv, 2, 20 Annual Conferences, 19–20, 265, Letts, Don, 21, 23n6; see also 267, 270, 278–80 Scott-Heron, Gil protests at the ISA, 272–3, 278 Liberia, 17, 146, 149–50, 159; Internet, 16, 31, 35–49, 50n6, see also hip-hop 51n11; see also Intellectual listening, 9, 114, 179, 182, 199, Property Rights; piracy 203; see also audiences 314 Index

Lizst, Franz, 208–9 MGM, 56–7, 87n5 Love, Actually, 54, 63–8; see also Microsoft, 39 Working Title Films minstrelsy, 49 Love, Courtney, 81, 82, 83 Monteverdi, 209 Lydon, John, 119–20, 127; see also mosh pit, 122, 263, 265; see also under Rotten, Johnny; Sex under Clash, The; punk Pistols Mozart, Wolfgang Amadeus, 186, 201–2 Madonna, 170, 171 MP3, 32, 77; see also Internet; Mahler, Gustav, 214, 217 piracy march MTV, 61, 151 anti-war protest, 273, 275–7 music as martial music, 182, 183, conceptualisations of music: 185–6, 210, 232, 251 definitions, 10–11, 25, 185, as musical form, 205 258; as discourse, 91, 93, 97, marketing, 16, 34, 43, 48, 54, 58, 101, 105–7; as knowledge, 61, 62–4, 67, 68–9; see also 185–6, 223–4; vis-à-vis cross-promotion; media; music language, 107, 192–3; industry (non-)musical and emotional Marsalis, Wynton, 17, 104, 107 realms, 189–90, 191–2, 258; Marx, Karl, 33, 226, 237 as political practice, 224–5; Marxian cultural theories, 14, social role, 13, 14, 193; 22n4, 226, 237 socio-political significance Marxist political economy, 50n3 and content, 180–1, 182–3, mass market, 22, 29 186, 188, 194–5, 214–15 Maximum RockNRoll ‘zine, passim 118, 122 music categories (genres): acoustic McLaren, Malcolm, 118, 119–20; music, 106, 108, 109; see also Sex Pistols “colour” music, 218; classical Mearsheimer, John, 274 music, 10, 18, 22nn3–4, 199 media passim, 245, 251, 253; new coverage and musicians, 118, 123, music, 9, 22n4; popular 125, 142, 161, 164–8, 171–3, music, 11, 16, 25n19, 67, 94, 174, 223, 236, 267, 276 127, 162, 180–1, 186–9, 223, government/corporate media, 250, 255; western vis-à-vis 47, 54, 66, 92, 143–4, 163, non-western music, 10, 18, 171–2 32, 105, 157, 241–2; world synergies, 53 passim, 58–60, 69 music, 15, 32, 88n6, 157, see also music industry; Working 242; see also African/African- Title Films derived music; also under melody, 100, 121, 160n9, 201, classical music; film music; 216, 258 hip-hop; jazz; punk; rap Mendelssohn, Felix, Bartholdy, 208 production and distribution of, Messiaen, Oliver, 218, 220 45–6, 155–6 Metallica, 85, 257 research fields, 9, 10 Index 315 musicals, 15, 56, 57, 66, 100 Nussbaum, Martha, 180, 190, music industry 192–3 character of, 31 passim global reach, 29–30 opera, 226–30, 235; see also Verdi music majors, 20, 30, 31, 32, 50, Giuseppe; Visconti L; also 106, 123–4 under vocal music see also copyright regimes; Original Creole Orchestra, 95 Intellectual Property Rights; Original Dixieland Jazz Band, 95 media Osadebe, Stephen, 19, 243 passim; musickings, 6, 13–14, 17–19 see also African/African derived music-making, 3, 7, 9, 17, 126, 133, music; highlife music; also under 142, 240–1, 256, 259; see also vocal music under culture; everyday life; ostinato, 245, 254 politics Owen, Wilfred, 213 Music Publishers’ Protective Association (MPPA), 55 Parker, Charlie, 99; see also bebop music videos, 65, 66, 68, 150 peace, 20, 199, 211, 280 myths/mythologies, 223, anticipations of peace in classical 229–30, 236 music, 212 as anti-compositions, 214–15 Nabucco, 232, 234; see also Verdi, as beauty in music, 201–2 Giuseppe musical depictions of peace Napster, 38–9, 73–4, 77–80, 84–7, (fantasies), 182–3, 200 87n4; see also Intellectual passim, 215–18, 233 Property Rights; Internet; piracy as order in Baroque music, 200–1 Nazi Germany, 22n4, 98, 107 peace petitions in classical music, Negus, Keith, 23n7, 50n1 210–12 neoimperialism, 269–70 Taoist conceptions of, 201 neoliberalism, 115, 132–3, 136, 145 Pee Froiss, 152, 154, 159 and post-colonial Africa, 145–7, peer-to-peer networks, 5n6, 39, 153–4 72–3, 78, 80 passim, 87n5 neorealism (in film), 226 in punk communities, 115–16, new music industry, 84–6; see also 134 Intellectual Property Rights; see also piracy; sharing Internet Pere Ubu, 115, 117, 137 New Music Research, 10 performance New Orleans Jazz, 94, 96–7 jazz, 94, 96, 100–1 New York punk scene, 117–18 performance (principles), 4–5, 6, Nietzsche, Frederick, 185–6, 190 9, 25n17, 90, 92–3, 242 Nigeria, 243, 260n1, 260n3, 261n6; performance rights (live), 32, see also African/African-derived 34–5, 41–5, 47–8, 50, 55–6, music 67, 74–7, 86 No Electronic Theft Act (NET), 76 and public morality, 161–4, 167 noise, 10, 11, 95, 119, 218, 258 punk, 114–15, 117, 120 NoMeansNo, 115, 137 see also royalties 316 Index performativity, 224 popular culture (American), phrasing, 115, 244, 245–6, 248; 22n15, 89 see also under call and popular song, 41, 100 response; rhythm Porter, Cole, 57, 66, 70n4 piracy, 36, 38, 40–2, 45, 50n6, 54, Positive Black Soul, 153, 155–6, 67–9, 72 passim; see also 157, 159 copyright regimes; Internet Powell, Colin, 2, 271–2, 274 pitch, 26, 94, 254 production playing, 243, 261n5; see also capitalist mode of, 16, 123 performance; restraint film, 54 passim, 226–7 playlists music production (relations of), African/African-derived music, 30, 32 passim, 44, 47–8, 260 115, 123–4, 133, 155–6, African hip-hop, 159–60 175n2, 237n2 anti-war/protest songs, 195 opera, 231–3 Clash, The, 281 see also reproduction classical music, 220–1 program music, 207, 219 Indonesian/dangdut music, 175 Propagandhi, 115, 128, 137 jazz, 108–9 protest songs, 179; see also under opera, 237 playlists other artists, 260, 261n5 Public Enemy, 3, 21, 145 punk, 137–8 punk, 17, 19, 113 passim, 250–1, western (US) rap/hip-hop, 21 263 passim Polanyi, Karl, 43, 133 and (dis)alienation, 123, 126, political economy 131, 136, 140n20 of jazz, 92–4, 99–100 do-it-yourself ethos of, 119, of punk music, 130–1, 134 133–4 politics fashion/style, 119–20, 264 of film, 227–9, 234–5 history of, 117–18 of gender, 162, 171–5 and international relations, international (world) politics, 126–32, 133–5, 264 223–5, 229, 259 and neoliberalism, 132 passim of jazz, 91, 97 politics, 126–36 of music-making (various), 90–1, and racism, 128–9, 140n18 97, 115–16, 181–5, 193–5, see also Clash, The 224–5, 234–6, 239–41, 242, Punk Planet ‘zine, 122–3, 139n13 248, 251, 259 personal politics, 265–9, 274–5 race (racism), 23n8, 91, 95, 97, political policy and practice, 102–3; see also under gender; 5, 6–7, 8, 11–12, 13–15, class; jazz; punk 18, 20 radio, 4, 47, 55, 56, 58, 63, 74–5, of punk music, 126–36 76, 86–7, 96, 98, 151, 166 of Verdi/VERDI, 19, 230–4 ragga-jungle, 8; see also Asian Dub see also under hip-hop; rap; Foundation Senso ragtime, 94 Index 317 rap, 22, 23n6, 23n7, 25n19, 261n6 royalties, 37, 55–6, 57, 71, 74–7, cultural politics of, 17, 23n6 81–2, 86, 124; see also definitions of, 23n7, 160n2 copyright regimes; performance gender politics of, 5, 23n8; see also hip-hop Said, Edward, 5, 10, 18, 25n16, message and idioms, 2–5, 180, 193–4; see also 23n8, 143 Barenboim, Daniel see also Gil Scott-Heron; Saturday Night Fever, 62, 65 hip-hop Schoenberg, Arnold, 213–14, rap/hip-hop, see hip-hop; rap 215–16 realism, 274–5 Scott-Heron, Gil, 3, 4, 21, 23n6 recording industry, 31, 32 Scritti Politti, 121, 139n8 punk, 115–16 Senegal, 150–5 see also music industry Senghaas, Dieter, 181–2 Recording Industry Association of Senso, 226–30; see also Visconti L. America (RIAA), 43, 68, 78 September 11 (2001), 18, 179, 180, passim 187, 189, 237n2, 278 reggae, 262n14 Sex Pistols, 117, 127, 264 religion, 218–19, 238n4 Shapiro, Michael, 24, 115 representation, 183–5, 190–3, 214 sharing, 50n6, 84–7; see also reproduction, 16, 32–5, 36, 41, filesharing; punk 43–9; see also production sheet music, 55, 56 restraint (principle of), 242, 253–5; Shostakovich, Dmitri, 182, 203 see also African/African-derived Sierra Leone, 146–9 music; performance silence, 7, 8, 245–6 rhythm silent era (film), 54, 55 cross-rhythm, 14, 241, 245, singing 251, 257 in unison, 224, 232, 235, 252, duple-triple (clave), 245–6, 262n14 261–2n8, 262n9 West African singing, 243, 252–3 poly-rhythms (rhythmic tension), Singin’ in the Rain, 56, 57 243, 247–51, 259, 261n5, ska, 119, 128, 264 262n13 songs, see under playlists; vocal music see also under beat; syncopation Sony, 31, 48, 60, 70n5 rhythm and blues (r ‘n’ b), 106 Sony-BMG merger, 50n2, 66, 70n12 Risorgimento, 225, 227–9, 234–5; Sony Corp. versus Universal Studios, see also Verdi Giuseppe; 38, 39 Visconti L. sound, 6, 7, 10, 35, 55, 134, 155–6, rock music (rock ‘n’ roll), 99, 102 160n9, 188–9, 258 Rose, Tricia, 23n10, 142, 143 as a heterogeneous ideal, 239, Rotten, Johnny, 127, 129; see also 242, 251–3 under Lydon, John; Sex Pistols as homogeneous, 251–2 rough music, 7, 119 of peace, 181, 201–3 Rough Trade Records, see of punk, 116, 120–1 independent record labels see also peace; silence 318 Index soundscapes, 239, 250, 257; see also US majors, 68; see also media; music African/African-derived music industries soundtrack, 54, 55, 58, 61, 62–3, US National Security Strategy 67–8, 227; see also under film Report (2002), 268–9 music; De-Lovely; Love, Utopias, 15, 18, 239, 242, 257; Actually; Saturday Night Fever; see also peace; soundscapes Singin’ in the Rain soundtrack channel, 68 VCD, 164, 171, 175n2 Spears, Britney, 31, 62, 66, 173 VCR technology, 81 Springsteen, Bruce, 187–9 Velvet Underground, 117, 138 Stiliagi, 103–4 VERDI , 227, 229; see also Verdi, Strauss, Richard, 216 Giuseppe; Risorgimento Strummer, Joe, 263, 265–6; see also Verdi, Giuseppe, 185, 225, 227 Clash, The Verizon, 79 subcultures, 98, 115, 118 Vicious, Sid, 117, 118, 139n16; Sun Ra, 256–7 see also Sex Pistols swing, 96–9 videogames, 16, 68 Swings, the, 98–9 Vietnam war, 187–8, 273, 276 syncopation, 94, 194, 247, 250, vinyl records, 5, 29, 35, 42, 155 261n5, 262n11; see also beat; Virgin Records, 72 rhythm virtuosity, 94, 242, 255–6 Visconti, L., 225–30 Taiwan, 71–2, 135 Vivaldi, Antonio, 208–9 Television, 117, 138 vocal music, discussed (title, theory composer/s) International Relations, 12–13, choral works (title, composer): 140n20, 259, 278, 280 Friede auf Erden, by music, 6, 9, 23–4n12, 24–5n16, A. Schoenberg, 216; Hunting 25n19, 100, 219 Cantata, by J. S. Bach, 216; Il Three Tenors, 235 Trovatore, by G. Verdi, 225 timbres, 242, 251–2, 261n5 passim, 232, 233; La Time Warner, 88n6 Resurrezione, by G. F. Handel, Tin Pan Alley, 50n2, 56 208–9; Lamento di Guerra, transnational entertainment by D. Schnebel, 184; Mass in economy, 94–7, 104; see also B Minor, by J. S. Bach, media; music industry 217–18; Messe pour la Jour TRIPS, 40–1, 75 de la Paix, by A. Jolivet, 212; Tupac, Shakur (2Pac), 143, 147; The Messiah, by G. F. Handel, see also rap; hip-hop 203–4; Missa in Tempore Belli, by J. Haydn, 183, Universal Music Group, 31, 65, 210–11; Missa Solemnis, by 78, 88n6 L. van Beethoven, 182, Universal Pictures, 65 199; Revelge, by G. Mahler, US jazz labels, 102 214; A Survivor from Index 319

Warsaw, by A. Schoenberg, “Machine Gun,” by Jimi 213–14; War Requiem, by Hendrix, 255; “Makoyo,” by Benjamin Britten, 21; see also Stephen Osadebe, 253; “Mo Playlists Bero Agba,” by Sunny Ade, songs/choruses: “Addicted to 244; “No Agreement,” by Love,” by Robert Palmer, 64; Fela Kuti, 252; “Nri Sports “Africa for Africans,” by Pee Di Uso,” by Stephen Froiss, 154; “Akbalu Aka Na Osadebe, 254; “Nwannem Ani,” by Stephen Osadebe, Ebeniza,” by Stephen 245; “Akonam,” by Stephen Osadebe, 251–2; “Nyem Obi Osadebe, 245; “Alias Gi,” by Stephen Osadebe, Directory,” by Monorchid, 244; “Obinwanne,” by 121; “Ana Amasi Ife Uwe,” Stephen Osadebe, 245, 246; by Stephen Osadebe, 244–5; “Onu’wa,” by Stephen “Anthrax,” by the Gang of Osadebe, 244; “Opposite Four, 121; “Ase,” by Sunny People,” by Fela Kuti, 252–3; Ade, 249; “Au Fond du “Osondi Owendi,” by Temple Saint,” by G. Bizet, Stephen Osadebe, 247; “Our 235; “Aye Mama,” by Prayer,” by The Beach Boys, Stephen Osadebe, 253; 252; “Political Song for “Born in the USA,” by Bruce Michael Jackson to Sing,” Springsteen, 187–9; “By The Minutemen, 125; You,” by Fugazi, 120–1; “Shuffering and Shmiling,” “Death Around The Corner,” by Fela Kuti, 247–8, 248; by Tupac Shakur, 148–9; “Suemuela,” by Xuman, 152; “Equalization of Trouser and “The Revolution Will Not Be Pant,” by Fela Kuti, 249–50, Televised,” by Gil Scott- 250; “Expensive Shit,” by Heron, 2–3; “Udara Ka Fela Kuti, 254; “Faux Mma,” by Stephen Osadebe, Départ,” by Positive Black 246; “Va Pensiero,” by Soul, 155; “Gold and G. Verdi, 232, 234; “Water Diamonds,” by Positive Get No Enemy,” by Fela Kuti, Black Soul, 153; “Hand 252; “Women’s Emancipation” Grenades,” by The Offspring, (“Emansipasi Wanita”), by 125; “Holiday in the Sun,” Rhoma Irama, 167–9, 188; by The Sex Pistols, 127; “Into “Your Revolution,” by Sarah the Fire,” by Bruce Jones, 2–4, 23n6; Springsteen, 187; “Jubilant vocals (voice), 121, 244, Drinking Song,” by Difang 249–50 and Agay, 71–2; “Kunu Abal Ay Beut,” by Omzo, 152, Wagner, Richard, 22n3, 185–6 154; “Kyrie,” by Palestrina, war 262n14; “Lou Deux Bi Gulf Wars (Iraq), 264, 266–7, Lath,” by Sen Kumpe, 153; 271, 276 320 Index war—continued Wolf, Hugo, 210 images of, 189–90 women musical premonitions of, and dangdut, 161, 163, 167–71, 204–6 172–9 sounds of, 206–10 and punk, 124, 127–8, 135–6, warlike music, 181–2, 183–4, 139n9 185–6 and rap/hip-hop, 4, 23n8, 149–50 see also march see also gender; race; class Warner Brothers (Warner’s), Working Title Films, 21n1, 63, 65 56–7, 66 World International Property Warner Music Group, 31 Organization, 41 webcasting, 47, 73, 76 World Trade Organization (WTO), Webern, Anton, 204–5 40, 75, 87n2 websites, 65, 76, 86–7, 133, 156 youth West-Eastern Divan, 193–4; bulges, 145–6, 150–1, 158–9 see also Said, Edward cultures, 4, 71–2, 141–2, 144, 145 Westwood, Vivian, 119, 120; see unemployment, 17, 117, 141, also McLaren, Malcolm 145–6, 150–3, 159; see also Williams, Robbie, 35, 41, 66 under hip-hop; Liberia; Wilson, Olly, 241–2 Senegal; Sierra Leone