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.