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Full Description
This book explores a provocative area of inquiry for critical theory and research into world politics and popular culture: music. Not just because political science barely engages with anything musical, but also because it is clear that many opportunities for critical scholarship and reflection on global politics and economics are present in the spaces and relationships created by organized sound. It is easy to focus on the textual elements of music, but there is more at stake than just the words. Critical reflection on the intersections between music and politics also need to take into account the visceral and non-verbal elements such as counterpoint and harmony, polyphony and dissonance, noise, rhymes, rhythms, performance and the visual/aural dimensions to music-making.
Contents
Introduction; M.I.Franklin PART 1 Concentrated Industry, Fragmented Consumption: the Global Music Industry in the New Millenium; C.May Sharing as Piracy: The Digital Future of Music; D.Halbert Sounds Complicated? Music, Film, and Media Synergies; J.Rodgers & A.Davison Rhythmic Soundscapes as Critical Utopias; N.Inayatullah PART 2 'This is Our Music': The International Politics of Jazz Canon; R.Brown 'Do It Yourself': Punk Rock and the Disalienation of International Relations; M.Davies Whose Revolution Will (Not) Be Televised? Rap and Hiphop's Global Crossings; M.I.Franklin How to Intonate Peace? War and Peace in Classical Music; D.Senghaas PART 3 Operatic Mythologies and Political Performativity: Visconti, Verdi, and the Risorgimento; T.Carver 'Who is Listening?' Emancipatory Ideas in Hiphop Music: The Case of Senegal; K.Lock The Clash in Academe: Notes from a Punk/Scholar; K.Dunn Conclusion; M.I.Franklin
