Music and the Politics of Participation
Title Page AUDIBLE PUBLICS: POPULAR MUSIC AND THE POLITICS OF PARTICIPATION IN POSTCOLONIAL UGANDA by Charles Lwanga BA (Music), Makerere University, 2003 MA (Composition/Theory), Makerere University, 2006 Post-graduate Diploma in Education, Kyambogo University, 2006 Diploma in Law, Law Development Center, Kampala, Uganda, 2007 Doctor of Philosophy (Composition/Theory), University of Pittsburgh, 2012 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2020 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Charles Lwanga It was defended on March 2, 2020 and approved by Committee Member: Dr. Kofi Agawu, Ph. D, Professor of Music Committee Member: Dr. Shalini Ayyagari, Ph. D, Assistant Professor of Music Committee Member: Dr. Adriana Helbig, Ph. D, Associate Professor of Music Committee Member: Dr. Gavin Steingo, Ph. D, Associate Professor of Music Dissertation Advisor: Dr. Andrew Weintraub, Professor of Music ii Copyright © by Charles Lwanga 2020 iii Abstract AUDIBLE PUBLICS: POPULAR MUSIC AND THE POLITICS OF PARTICIPATION IN POSTCOLONIAL UGANDA Charles Lwanga, Ph. D University of Pittsburgh, 2020 This dissertation project is a historical and analytical examination of how popular music has participated in the transformation of Uganda’s public sphere into a more participatory space since the early 1990s. Popular music has rendered previously marginalized publics audible and visible. By marginalized, I refer to the trivialization of the social aspirations of collectivities by the state or the dominant public. By publics, I refer to collectivities that exchange information, debate ideas, and advocate for change in physical and virtual spaces.
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